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Frans Pourbus -- Click Here Flemish Northern Renaissance Painter, ca.1545-1581

Frans Post -- Click Here 1612-1680 Dutch Frans Post Gallery

Frans Jansz van Mierisi -- Click Here 1635-1681 Dutch Frans Jansz van Mierisi Gallery

Frans Hals -- Click Here 1580-1666 Frans Hals Galleries

Frans Francken II -- Click Here Flemish Baroque Era Painter, 1581-1642

Frans Floris de Vriendt -- Click Here c.1517-70, Flemish painter

Frans de Momper -- Click Here Flemish Baroque Era Painter, 1603-1660

Franqois Balthazar Solvyns -- Click Here 1760-1824

Frank Walton -- Click Here Frank Walton. RI, RBA (1840 - 1888)

Frank Vizetelly -- Click Here 1830-1883

Frank O-Meara -- Click Here 1853-1888

Frank Holl -- Click Here 1845-1888

Frank H Desch -- Click Here 1873-1934

Frank Duveneck -- Click Here 1848-1919 Frank Duveneck Gallery

Frank Buscher -- Click Here 1828-1890 Swiss Frank Buscher Locations

Frank Bramley -- Click Here English Painter, 1857-1915

Frank Blackwell Mayer -- Click Here American Painter, 1827-1899

Francois-Marius Granet -- Click Here 1775-1849 French Francois Marius Granet Gallery

Francois-Joseph Heim -- Click Here 1787-1865 French Francois-Joseph Heim Gallery

Francois-Hubert Drouais -- Click Here Paris 1727-Rome 1775

Francois Louis Thomas Francia -- Click Here French, 1772-1839

Francois Louis Francais -- Click Here Plombieres 1814 - Paris 1897.

Francois Lemoyne -- Click Here Paris 1688-1737

Francois Lemoine -- Click Here 1688-1737

Francois Joseph Navez -- Click Here 1787-1869 French Francois Joseph Navez gallery

Francois Gerard -- Click Here French Neoclassical Painter, 1770-1837

Francois Flameng -- Click Here French 1858-1932

Francois Desportes -- Click Here 1661-1743 Francois Desportes Locations

Francois de Troy -- Click Here French Baroque Era Painter, 1645-1730

Francois Clouet -- Click Here 1510-1572 French Francois Clouet Locations The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father. As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind. Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony. Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns. His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal.

Francois Boucher -- Click Here French Rococo Era Painter, 1703-1770 Francois Boucher seems to have been perfectly attuned to his times, a period which had cast off the pomp and circumstance characteristic of the preceding age of Louis XIV and had replaced formality and ritual by intimacy and artificial manners. Boucher was very much bound to the whims of this frivolous society, and he painted primarily what his patrons wanted to see. It appears that their sight was best satisfied by amorous subjects, both mythological and contemporary. The painter was only too happy to supply them, creating the boudoir art for which he is so famous. Boucher was born in Paris on Sept. 29, 1703, the son of Nicolas Boucher, a decorator who specialized in embroidery design. Recognizing his sons artistic potential, the father placed young Boucher in the studio of François Lemoyne, a decorator-painter who worked in the manner of Giovanni Battista Tiepolo. Though Boucher remained in Lemoynes studio only a short time, he probably derived his love of delicately voluptuous forms and his brilliant color palette from the older masters penchant for mimicking the Venetian decorative painters.

Francois Bonvin -- Click Here 1817-1887 French Francois Bonvin Location Bonvin was born in humble circumstances in Paris, the son of a police officer and a seamstress. When he was four years old his mother died of tuberculosis and young Francois was left in the care of an old woman who underfed him. Soon his father married another seamstress and brought the child back into the household. Nine additional children were born, putting a strain on the familys resources, and to make matters worse his stepmother took to abusing and undernourishing Francois. The young Bonvin started drawing at an early age. His potential was recognized by a friend of the family, who paid for him to attend a school for drawing instruction at age eleven. This instruction ended after two years, when his father apprenticed him to a printer, and Bonvin was to remain mostly self-taught as an artist. He spent his free time at the Louvre where he especially appreciated the Dutch old masters. Bonvin married a laundress at the age of twenty, at about the same time that he secured a job at the headquarters of the Paris police. It was during this period in his life that he also contracted an illness which would trouble him for the rest of his life. Bonvin exhibited three paintings in the Salon of 1849, where he was awarded a third-class medal. He exhibited in the Salon of 1850 with Courbet, and won recognition as a leading realist, painting truthfully the lives of the poor which he knew at first hand. His paintings were well received by critics and by the public. Although his work had elements in common with Courbets, his modestly scaled paintings were not seen as revolutionary. He was awarded the Legion d honneur in 1870. His subjects were still life and the everyday activities of common people, painted in a style that is reminiscent of Pieter de Hooch and Jean-Baptiste-Simeon Chardin. It is the latter who is especially recalled by Bonvins delicate luminosity. In 1881 he underwent an operation which did not restore him to health, and he became blind. A retrospective exhibition of his work was held in 1886. He died at Saint-Germain-en-Laye in 1887.

Francois Bocion -- Click Here 1828-1890

Francois Balthazar Solvyns -- Click Here 1760-1824

Francois Auguste Biard -- Click Here (1800-1882) , a French genre painter

Francken, Frans II -- Click Here b. 1581, Antwerpen, d. 1642, Antwerpen

FRANCKEN, Ambrosius -- Click Here Flemish painter (b. ca. 1544, Antwerpen, d. 1618, Antwerpen).

Franck Dillon -- Click Here British 1823-1909

Francisco Rizi -- Click Here Spanish painter, 1614-1685

Francisco Oller y Cestero -- Click Here San Juan,Puerto Rico 1833-Santurce 1917

Francisco Miralles Y Galup -- Click Here Spanish 1848-1901

Francisco Jose de Goya -- Click Here Spanish Rococo Era/Romantic Painter and Printmaker, 1746-1828

Francisco Goya -- Click Here 1746-1828

Francisco Gimeno Arasa -- Click Here Spanish , Tortosa,Tarragona 1858- Barcelona 1927

Francisco de Zurbaran -- Click Here 1598-1664 Spanish Francisco de Zurbaran Galleries Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..

Francisco de Herrera the Younger -- Click Here 1622-1685 Spanish Francisco de Herrera Gallery

Francisco de herrera the elder -- Click Here Spanish Baroque Era Painter, ca.1590-1656

Francisco de goya y Lucientes -- Click Here b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828,

Francisco de Goya -- Click Here Spanish 1746-1828 Francisco de Goya Locations

Francisco Camilo -- Click Here Spanish painter (b. 1615, Madrid, d. 1673, Madrid)

Francisco Bayeu y Subias -- Click Here Spanish Painter, 1734-1795

Francisco Bayeu -- Click Here Spanish painter , 1734, Zaragoza, Spain - 1795, Madrid

Francisco Barrera -- Click Here Spanish, -1657

Francisco Antolinez y Sarabia -- Click Here Spanish Painter , Seville circa 1644-circa1700

Francis William Edmonds -- Click Here American, 1806-1863

Francis Wheatley -- Click Here 1747-1801 British Francis Wheatley Location Francis Wheatley (1747 - June 28, 1801), was an English portrait and landscape painter, was born at Wild Court, Covent Garden, London. He studied at Shipleys drawing-school and the Royal Academy, and won several prizes from the Society of Arts. He assisted in the decoration of Vauxhall, and aided Mortimer in painting a ceiling for Lord Melbourne at Brocket Hall (Hertfordshire). In youth his life was irregular and dissipated. He eloped to Ireland with the wife of Gresse, a brother artist, and established himself in Dublin as a portrait-painter, executing, among other works, an interior of the Irish House of Commons. His scene from the Gordon Riots of 1780 was engraved by Heath. He painted several subjects for Boydells Shakespeare Gallery, designed illustrations to Bells edition of the poets, and practised to some small extent as an etcher and mezzotint-engraver. It is, however, as a painter, in both oil and water-color, of landscapes and rustic subjects that Wheatley is best remembered. He was elected an associate of the Royal Academy in 1790, and an academician in the following year. His wife, as Mrs Pope after his death, was known as a painter of flowers and portraits.

Francis Towne -- Click Here English Painter, 1739-1816

Francis Swaine -- Click Here 1720-1783

Francis Swain Ward -- Click Here 1734-1794

Francis Sartorius -- Click Here Scottish , 1734-1804

Francis Quarles -- Click Here 1592-1644

Francis Oliver Finch -- Click Here British watercolour painter, 1802-1862

Francis Nicholson -- Click Here English Painter, 1753-1844

Francis Hopkinson Smith -- Click Here Engineer, artist, illustrator, and short story writer American , 1838-1915

Francis Hayman -- Click Here English Painter, 1708-1776

Francis Guy -- Click Here American Colonial Era Painter, 1753-1820

Francis Grant -- Click Here Scottish Painter, 1803-1878

Francis Day -- Click Here 1863-1925

Francis Danby -- Click Here Irish Painter, 1793-1861

Francis Coates Jones -- Click Here 1857-1932

Francis Campbell Boileau Cadell -- Click Here Scottish, 1883-1937

Francis Bacon -- Click Here English , 1561-1626

Francis B. Carpenter -- Click Here 1830-1900

Francis A.Silva -- Click Here American Hudson River School Painter, 1835-1886

FRANCIABIGIO -- Click Here Italian High Renaissance Painter, 1484-1525

FRANCIA, Francesco -- Click Here Italian High Renaissance Painter, 1450-1517

Francia Alexandre -- Click Here French , 1815-Bruxelles 1884

Francesco Zuccarelli -- Click Here Italian 1702-1788 1788). Italian painter and draughtsman, active in England. Zuccarelli training began in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He then studied in Rome under Paolo Anesi and learnt figure drawing from Giovanni Maria Morandi (1622-1717), although in this he never acquired any great skill. His earliest recorded paintings were Mary Magdalene and St Jerome (both untraced), which he contributed to the exhibition of the feast of St Luke in Florence in 1729. He also painted portraits. Around 1730 he moved to Venice and began painting landscapes exclusively. His interest in this field may have led to his becoming acquainted with the Welsh landscape painter Richard Wilson in 1750-51. Wilson painted a lively portrait of him (1751; London, Tate) in exchange for one of Zuccarellis landscapes. Zuccarelli avoided both the topographical type of Venetian view developed by Canaletto and the stormier landscapes of Marco Ricci, adopting instead a decorative landscape style of idealized Italian countryside. His subject-matter was usually unspecific rather than recognizably historical, biblical or mythological. For example, in the early 1740s he executed six paintings purporting to be scenes from the story of Jacob, but the paintings themselves bear few references to it (e.g. Landscape with Two Seated Women Embracing, 1743; Windsor Castle, Berks, Royal Col.).

Francesco Vanni -- Click Here Italian Baroque Era Painter, 1563-1610

Francesco Trevisani -- Click Here Italian Rococo Era Painter , Capodistria 1656-1746 Rome