b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.  Related Paintings of Albrecht Durer :. | Sebastian Brant | Woman in Netherlandish artist | The Men-s Bath | The City hall of Alx-la-Chapelle | A Nuremberg Lady in Everyday |
Related Artists:
Nittis, Giuseppe de
Italian, 1846-84 Italian painter, pastellist and printmaker. Throughout his career he was committed to a plein-air aesthetic and was particularly interested in rendering varying light effects, a concern that brought him into contact with the Impressionists. He was also acquainted with the members of the Macchiaioli, for whom his work was influential. In addition to oils, he experimented with printmaking and made innovative use of pastels. Practising a restrained, and therefore 'acceptable', form of Impressionism, he achieved great success in his lifetime,
Charles Laval
(1862-1894) was a French painter born March 17, 1862 in Paris and who died April 27, 1894. He is associated with the Synthetic movement and Pont-Aven School, and he was a contemporary and friend of Paul Gauguin and Vincent van Gogh. Gauguin created a portrait of him in 1886 looking at one of Gauguin's Ceramic sculptures, entitled "Still Life with Profile of Laval". Paul Gauguin and Laval both came to Pension Gloanec in Pont-Aven in 1886 and became friends. In search of an exoticism that could provide the key to art, Gauguin and Laval went to Panama in 1887. To gain some subsidies, Laval performs academic portraits (all lost), using his experience received from Leon Bonnat. A series of mishaps caused Laval and Gauguin to leave the Central America for the island of Martinique.
Heinrich von Angeli
1840 - 1925 Austrian painter. In 1853 he moved to Vienna to live with his uncle, who was a collector and a friend of the painters Friedrich von Amerling and Mathias Ranftl (1805-54). Angeli's early Self-portrait reflects the precocious maturity of his style, and in 1854 he enrolled at the Akademie der Bildenden K?nste in Vienna. In 1856, on the advice of Amerling, he went to study under Emanuel Gottlieb Leutze in D?sseldorf, where he executed one of his most significant history paintings, Mary Stuart Reading her Death Warrant (1857). In 1859 he moved to Munich, where he worked independently and was encouraged by Karl Theodor von Piloty, producing the history paintings Ludwig XI and Franz de Paula (1859) and Antony and Cleopatra for Ludwig I of Bavaria. In 1862 he again settled in Vienna, where he enjoyed increasing success. The life-size portrait of Baronin Seidler and the genre painting Avengers of Honour (1869), both exhibited at the Weltausstellung in Vienna in 1873, secured his reputation. After brief stays in Paris and Berlin (c. 1866), he went in 1871 to Italy, where he painted numerous portraits and the genre work Absolution Denied. His final genre paintings, Youthful Love (sold London, Sotheby's, 3 Oct 1980) and Calabrian Shepherd Couple, also date from this year. Henceforth he devoted himself entirely to portrait painting, receiving important commissions from such aristocratic circles as the Kinsky and Auersperg families (e.g. Graf Anton Alexander Auersperg, 1876; Vienna, Pr?sidium des Nationalrates). Whereas his early portraits were influenced by Amerling, Anton Einsle and 17th-century Dutch art, from the 1870s he developed his own elegant and restrained style. This helped him to obtain commissions at the courts of Vienna, St Petersburg and London