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He was also a court painter who painted five volumes of the Ashibiki-e scroll paintings during the Ōei period.
In 1842 Oesterley became a full professor of art, and in 1844, after finishing the painting Christus and Ahasuerus, he was appointed court painter of the Kingdom of Hanover.
He journeyed to Egypt from 1821 to 1822 and in the 1830s to India, and was appointed court painter to the Nawab of Awadh in Lucknow.
In 1671, upon the death of Sebastian de Herrera, he was appointed court painter to the queen (pintor de cámara) and began to paint primarily portraits.
In 1886, Fałat accepted an invitation from future German Emperor Wilhelm II to serve as court painter in Berlin.
After painting for some time in Florence, and having married at the age of forty the daughter of the rich sculptor named Giovanni Francesco Susini, Lippi went as court painter to Innsbruck, where he has left many excellent portraits.
From 1381 he was court painter to Louis de Mâle, Duke of Brabant, and from Louis's death in 1384 worked for his son-in-law and successor, Philip the Bold, although he remained based in Ypres, doing much work, mostly decorative, at Philip's now vanished chateau at Hesdin, which was full of elaborate mechanical devices, of what we might today call a fairground nature, which needed painting.
From 1587 to 1590 he was court painter to Guglielmo Gonzaga's brother-in-law Archduke Charles II of Austria (1564–90), in Seckau and Graz, where he painted the altarpiece Symbolum apostolorum (1588; Graz, Alte Gallery), showing the creation of Eve surrounded by depictions of articles of the Nicene Creed.
When king Charles IV visited the city of Turia in 1802, the king appointed him an honorary court painter at the same time he gave him some commissions that he executed successfully.
January 20 – The Academy of Fine Arts Vienna is refounded by Charles VI, Holy Roman Emperor, as the k.k. Hofakademie der Maler, Bildhauer und Baukunst, under the direction of the French-born court painter Jacob van Schuppen.
His mother, Helena van Dyk, came from a wealthy family seemingly descended from the seventeenth century court painter Anthony van Dyck.
Lafontaine was born and brought up in Brunswick, the son of the court painter Ludolph Lafontaine and his fifth wife, the court maid-in-waiting Sophie Elisabeth Thorbrügge, and educated in Helmstedt, where he studied theology but took no degree.
It is unknown how she came to Ludwig's attention, though he wrote poems to her and had her painted by the court painter Joseph Karl Stieler for his Gallery, but Stieler's first version chose a view that over-emphasised her goose-neck and displeased its commissioner.
In September 1674, he moved to London where he became court painter to King Charles II of England and his successor James II.
The complex is accessed through a 16th-century tower commissioned by Louis XII of France; to the side there is an oratory dedicated to Saint Bernard which contains a fresco of Christ standing before Pilate, once attributed to Hieronymus Bosch but today assigned to the Swiss Hans Witz (also known as Johannes Sapidus), who was court painter in Milan during the rule of Galeazzo Maria Sforza.
Rubens, although closely allied to Isabella and the Spanish Netherlands, often had occasion to travel and visit foreign monarchs in his position as a court painter.
In 1512, he went to Schwerin where Duke Henry V of Mecklenburg-Schwerin (1479–1552) appointed him court painter and architect.
It may have been painted by more than one person: someone who specialised in clothing, another in drapes, and so on, with perhaps the great court painter Sir Godfrey Kneller painting the heads, for it was the portraits that gave the sitters their identity, everything else is rather formulaic.
Later in the century, David Teniers the Younger, working in the capacity of court painter to Archduke Leopold Wilhelm of Austria, documented the archduke's collection of Italian paintings in Brussels as gallery painters as well as in a printed catalogue–the Theatrum Pictorium.
Fua was born in 22 April 1910 in Thonburi, the son of a court painter who had served under Phya Anusat Chitrakorn.
His father, Max, was a painter who had studied at the St Petersburg Fine Art Academy under Ilya Repin, and had become a court painter to Baron Ginsburg.
According to Houbraken, who listed him as the most famous pupil of Wybrand de Geest, he was born in Workum and became Kamerling or court painter for the Kurfürst of Vienna.
The biographer Arnold Houbraken, who wrote a biography on his brother Roelant Savery (more famous because he was court painter at the imperial court in Prague), had it wrong when he wrote that Jacob was the father of Roelant and taught him to paint animals and fish, since Jacob was his older brother, not his father.
Malouel is recorded as working in Paris painting armorial decorations on cloth (probably for banners) for Isabelle of Bavaria, Queen of France, in 1396–97, but by August 1397 he was in Dijon, the capital of the Duchy of Burgundy, where he succeeded Jean de Beaumetz (d. 1396) to the position of court painter to Philip, with the rank of valet de chambre.
From 1731 till 1738 he worked in Maastricht, after which he established himself in Liège, where he was made court painter of the prince-bishops Georges-Louis de Berghes, John Theodore of Bavaria and Charles-Nicolas d'Oultremont.
That same year he was appointed court painter to Princess Eleonora of Savoy, where he was commissioned to paint frescoes for the Menagerie Pavilion at Schönbrunn.
He was court painter to King Augustus II of Poland, and director of the Royal Academy of Arts in Dresden.
Both Augustus II and his son were great admirers of Silvestre's work, and bestowed upon him, in the space of thirty years, every honour imaginable: he was appointed first court painter, then, in 1727, director of the Royal Academy of Arts; he was ennobled in 1741, as was his brother Charles-François.
With his uncle, the painter Charles-André van Loo, he went to Rome in 1727–1732, and in 1736 he became court painter to Philip V of Spain at Madrid, where he was a founder-member of the Academy in 1752.
Perhaps the most famous work kept in the museum are the Saint Vincent Panels, which date from before 1470 and are attributed to Nuno Gonçalves, court painter of King Afonso V.
He was trained by his father who worked as a court painter in Kolovrat.
He married an English woman Elizabeth Hayter, elder daughter of the English Court Painter Sir George Hayter.
The 32 oil on canvas panels originally painted by King Charles II’s court painter, Robert Streater, were removed and conserved.
All the boards carry a motif of the Sonnenstein Fortress based on a painting by the Electorate of Saxony court painter, Giovanni Canaletto (1722-1780).
Abdulcelil Levni – an outstanding miniature painter who began to work in Edirne to Istanbul where he studied painting and became the court painter where the Ottoman tradition of miniature albums was revived.
There were some female equivalents, such as the portrait miniaturist Levina Teerlinc (daughter of Simon Bening), who served as a gentlewoman in the royal households of both Mary I and Elizabeth I, and Sofonisba Anguissola, who was court painter to Philip II of Spain and art tutor with the rank of lady-in-waiting to his third wife Elisabeth of Valois, a keen amateur artist.