Netherlandish Northern Renaissance Painter, ca.1440-1482 South Netherlandish painter. In 1467 he enrolled as master in the Ghent painters' guild, sponsored by Joos van Wassenhove, master painter in Ghent in 1464 after registering in Antwerp in 1460. In 1469 the two together acted as guarantors for the illuminator Sanders Bening when he became a master, and it was from Hugo that Joos borrowed money when he went to Rome. Sanders Bening was married to Kathelijn van der Goes, perhaps Hugo's sister. Hugo's status within the guild is further attested by the fact that he was guarantor for two other painters in 1471 and 1475, that he was one of the dean's jurors in 1468-9 and that he himself served as dean from towards the end of 1473-4 to at least 18 August 1475.  Related Paintings of GOES, Hugo van der :. | Monforte Altarpiece (detail) | The Death of the Virgin (detail) | Sts. Anthony and Thomas with Tommaso Portinari | The Fall dfhjh | Adoration of the Shepherds (detail) sg |
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Adriaen Frans Boudewijns
Adriaan Frans Boudewyns, not Anton Frans (Bauduins, or Baudouin), (3 October 1644 - 3 December 1719) was a Flemish Baroque landscape painter. He was born at Brussels and learned to paint under a landscape painter named Ignatius van der Stock, and was received into the Guild there in 1665. He then travelled to Paris in 1666 and studied under A. F. van der Meulen for three years, and whose daughter Barbara he married 12 January 1670. In 1674 his wife died and in 1681 he moved back to Brussels where he married again. According to Houbraken he was a good landscape painter who encourage Gerard Hoet to stay in Brussels for 8 months in the 1680s. His son Frans Boudewijns (1682-1767) also became a successful painter. He was ruined in the bombardment of Brussels in 1695. Adriaen Fransz. Boudewijns, Adriaen Frans Boudewyns, Adriaen Frans Baudewijns, Adriaen Frans Baudewyns, Anton Frans Baudouin, Adriaen Frans Bauduins, Adrien François Bauduins, Monogrammist AFB
Samuel Palmer,OWS
1805-1881
Francis Danby
Irish Painter, 1793-1861 was a British painter of the Romantic eraBorn in the south of Ireland, he was one of a set of twins; his father, James Danby, farmed a small property he owned near Wexford, but his death, in 1807, caused the family to move to Dublin, while Francis was still a schoolboy. He began to practice drawing at the Royal Dublin Society's schools; and under an erratic young artist named James Arthur O'Connor he began painting landscapes. Danby also made acquaintance with George Petrie, and all three left for London together in 1824. This expedition, undertaken with very inadequate funds, quickly came to an end, and they had to get home again by walking. At Bristol they made a pause, and Danby, finding he could get trifling sums for water-color drawings, remained there working diligently and sending to the London exhibitions pictures of importance. There his large oil paintings quickly attracted attention. Danby painted "vast illusionist canvases" comparable to those of John Martin of "grand, gloomy and fantastic subjects which chimed exactly with the Byronic taste of the 1820s."The Upas Tree (1820) and The Delivery of the Israelites (1825) brought him his election as an Associate Member of the Royal Academy. He left Bristol for London, and in 1828 exhibited his Opening of the Sixth Seal at the British Institution, receiving from that body a prize of 200 guineas; and this picture was followed by two others on the theme of the Apocalypse. In 1829 Danby's wife deserted him, running off with the painter Paul Falconer Poole Danby left London, declaring that he would never live there again, and that the Academy, instead of aiding him, had, somehow or other, used him badly. For a decade he lived on the Lake of Geneva in Switzerland, becoming a Bohemian with boat-building fancies, painting only now and then. He later moved to Paris for a short period of time. He returned to England in 1840, when his sons, James and Thomas, both artists, were growing up. Danby exhibited his large (15 feet wide) and powerful The Deluge that year; the success of that painting, "the largest and most dramatic of all his Martinesque visions, revitalized his reputation and career. Other pictures by him were The Golden Age (c. 1827, exhibited 1831), Rich and Rare Were the Gems She Wore (1837), and The Evening Gun (1848). Some of Danby's later paintings, like The Woodnymph's Hymn to the Rising Sun (1845), tended toward a calmer, more restrained, more cheerful manner than those in his earlier style; but he returned to his early mode for The Shipwreck (1859).