duced a monumental and richly coloristic manner. For
the duke of Ferrara he created a series of exuberant
mythological paintings, including Bacchanal of 1523 -25
(Prado). Titian's portraits, such as Man with a Glove of
1523 (Louvre) and Pope Paul HI of 1543 (Museo Nazion-
ale di Capodimonte), are admired for their brilliant com-
bination of pictorial and psychological elements. He vis-
ited Rome between 1548 and 1551 and traveled twice
during these years to the court of Charles V at Augsburg.
Late masterpieces such as the Rape of Europa of 1559-62
(Isabella Stewart Gardner Museum) and The Crowning
with Thorns, left unfinished on his death (Alte Pinako-
thek), are notable for their technical freedom and em-
phasis on surface values.JOSEPH MALLORD WILLIAM
TURNER
London 1775-185 1
Turner was admitted to the Royal Academy in 1789,
studying briefly during the following years with the
architectural and topographical draughtsmen Thomas
Maltón and Edward Day es. He first exhibited a water-
color at the Royal Academy in 1790 and showed his first
oils there in 1796 and 1797. Turner was elected an Asso-
ciate of the Royal Academy in 1799 and a full Academi-
cian in 1802, the year he also made his first trip to the
Continent. Monumental oil paintings such as Snow
Storm: Hannibal and His Army Crossing the Alps of 1812
(London, Tate Gallery) soon established him as Britain's
leading younger artist. In 1819 he took his first trip to It-
aly, during which he gathered material for later paintings
and watercolors. Turner also became increasingly active
as an illustrator, producing designs for various series of
engravings such as Charles Heath's Picturesque Views in
England and Wales (1827-38) and views of the Loire and
Seine (circa 1825-34) as Part of the "Rivers of Europe"
project. He visited Italy a second time in 1828. Master-
pieces of his later years such as The Fighting "Téméraire"
of 1839 (Tate Gallery) and Slavers Throwing Overboard the
Dead and Dying of 1840 (Boston, Museum of Fine Arts)
show an interest in steam, fog, and atmosphere as pow-
erful embodiments of the forces of nature. Some of his
most beautiful watercolors were inspired by his last two
trips to Venice in 1833 and 1840. He also produced wa-
tercolors and oils of mountain subjects which reflect his
several journey s to the Alps between 1836 and 1845.
LUCAS VAN UDEN
Antwerp 1595-1672
Lucas was probably a pupil of his father, Artus van
Uden. From 1615 to 1630 he worked in Rubens' studio,where he made engravings after the master's composi-
tions, and in 1627/28 he became a member of the guild
in Antwerp. He seems to have spent his entire career in
Antwerp save for a trip along the Rhine in 1644-46. Al-
though van Uden made paintings, his most pleasing
works are his watercolors and etchings, which display his
refined sense of light and mood, derived in large measure
from the influence of Rubens.GERARDUS VAN VEEN
Haarlem(?) circa i62o-Beverwijk(?) circa 1683
Gerardus was the brother of Rochus van Veen and the
son of Isenbout van Veen, who is recorded in Haarlem
in 1626 but who had moved from the city by 1628, prob-
ably to Beverwijk. Far fewer works by Gerardus have
survived than by Rochus, who was also a natural history
draughtsman. They practiced virtually identical styles
and generally signed and dated their drawings. Gerar-
dus's nature studies range in date from 1643 (Studies of a
Praying Mantis and Dung Beetle [Rijksprentenkabinet]) to
1678 (Study of a Waterfowl [Paris, Robert Lebel collec-
tion]). Gerardus and Rochus belonged to a group of art-
ists, including Herman Saftleven, Pieter Holsteijn, and
Pieter Withoos, who made refined natural history illus-
trations in watercolors for a wealthy clientele, many of
whom owned country houses on the Vecht River outside
Amsterdam.ADRIAEN VAN DE VELDE
Amsterdam 1636-1672
Van de Velde's exceptionally varied output includes dif-
ferent types of landscapes, accomplished figure and an-
imal drawings, and the staffage in landscape paintings by
a number of other artists. He studied with his father, the
marine painter Willem van de Velde the Elder, and, later,
with Jan Wijnants in Haarlem. Adriaen, who probably
did not go to Rome in 1653-56 as was once assumed,
spent his entire brief career in Amsterdam. His earliest
dated picture is from 1654, with dated works appearing
consistently between 1656 and 1672. Under the influence
of Philips Wouwerman as well as Jan Wijnants, Adriaen
produced dune landscapes populated by animals and fig-
ures, such as Farm by a Stream of 1661 (National Gallery).
Beach View of circa 1664 (Mauritshuis), one of a number
of beach scenes he painted between 1658 and 1670,
achieves a finely tuned balance between figurai elements
and the landscape. Vertumnus and Pomona of 1670 (Vi-
enna, Kunsthistorisches Museum) exhibits the tendency
of figures in his later art to dominate their surroundings.
Adriaen's refined formal sensibility and meticulous tech-348 ARTISTS BIOGRAPHIES