Flemish painter (b. 1593, Antwerpen, d. 1678, Antwerpen). Flemish painter, tapestry designer and draughtsman. In the context of 17th-century Flemish art, he emerges as a somewhat complicated figure. His oeuvre, the fruit of a continual artistic development, is characterized by great stylistic versatility, to which the length of his career contributed. His religious, mythological and historical representations evolved from the rhetorical prolixity of the Baroque into a vernacular, sometimes almost caricatural, formal idiom. The lack of idealistic treatment in his work is undoubtedly the factor that most removed Jordaens's art from that of his great Flemish contemporaries Rubens and van Dyck. Jordaens's officially commissioned works included many paintings in which the sublimity of the subject-matter clashed with the vulgarity of some of his figures. Unlike Rubens and van Dyck, both of whom were knighted in the course of their careers, Jordaens was, in fact, completely ignored by the courts of Spain and Brussels  Related Paintings of JORDAENS, Jacob :. | Nymphs at the Fountain of Love | Adoration of the Shepherds sf | The King Drinks sf | The Bean King sf | Self-portrait among Parents, Brothers and Sisters (detail) sg |
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MEYTENS, Martin van
Dutch painter (b. 1695, Stockholm, d. 1770, Vienna). was a Swedish-Austrian painter who has painted people of the royal Court of Austria such as Marie Antoinette, Maria Theresa of Austria, Francois III and his family, and many other royal paintings. His painting style has inspired many other painters to paint in a similar format. Martin van Meytens was born on June 16, 1695 and was later baptised in Stockholm, Sweden. He studied other great painter's works and in 1717 he had a great success in painting enamel paintings and miniatures, but later went on to greater task. In 1723 he began to paint large portraits of royal courts
Filippo Brunelleschi
Italian Early Renaissance Sculptor and Architect, 1377-1446,Florentine architect and engineer. Trained as a sculptor and goldsmith, he turned his attention to architecture after failing to win a competition for the bronze doors of the Baptistery of Florence, having tied with Lorenzo Ghiberti. He worked out the laws of linear perspective (later codified by Leon Battista Alberti). By the early 1420s Brunelleschi was Florence's most prominent architect. His major work, the octagonal dome of the cathedral (1420 ?C 36), was constructed with the aid of machines of his own invention. The Medici family commissioned him to design the (old) sacristy and basilica of San Lorenzo (begun 1421), considered keystones of the early Renaissance; he adhered to the conventional format while adding his own interpretation of antique designs for capitals, friezes, pilasters, and columns. His later monumental works foreshadowed the strong profiles and massive grandeur of the work of Alberti and Donato Bramante.
Theo Van Rysselberghe
Belgian Pointillist Painter, 1862-1926 was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the century. Born in Ghent to a French-speaking bourgeois family, he studied first at the Academy of Ghent under Theo Canneel and from 1879 at the Academy of Brussels under the directorship of Jean-François Portaels. The North African paintings of Portaels had started an orientalist fashion in Belgium. Their impact would strongly influence the young Theo van Rysselberghe. Between 1882 and 1888 he made three trips to Morocco, staying there a total of one year and half. Barely 18 years old, he already participated at the Salon of Ghent, showing two portraits. Soon afterwards followed his Self-portrait with pipe (1880), painted in somber colours in the Belgian realistic tradition of that time. His Child in an open spot of the forest (1880) already departs from this style and he sets his first steps towards impressionism.