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c. 1445 – May 17, 1510. Italian painter.

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Jan Van Eyck
The Virgin of Chancellor Rolin (mk05)

ID: 19995

Jan Van Eyck The Virgin of Chancellor Rolin (mk05)
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Jan Van Eyck The Virgin of Chancellor Rolin (mk05)


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Jan Van Eyck

1395-1441 Flemish Jan Van Eyck Locations Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d Heere, Jan trained with his brother Hubert. Pietro Summonte assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of Master, working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege. Jan became the court official painter and was paid, with a second assistant when the work increased in 1423, continuously, probably until the count death in January 1425.  Related Paintings of Jan Van Eyck :. | Stigmatization of St Francis | Details of Portrait of Giovanni Arnolfini and His Wife | Giovanna Cenami and Giovanni Arnolfini | Self-portrait | Portrait of Margarete van Eyck |
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Ercole Roberti
1456-1496 Italian Ercole Roberti Gallery Ercole de' Roberti (c. 1451 ?C 1496), also known as Ercole Ferrarese or Ercole da Ferrara, was an Italian artist of the Early Renaissance and the School of Ferrara. He was profiled in Vasari's Le Vite delle pi?? eccellenti pittori, scultori, ed architettori. The son of the doorkeeper at the Este castle, Ercole later held the position of court artist for the Este family in Ferrara. According to Vasari: By 1473, when he was 17, Ercole had left Ferrara and was working in Bologna in the studio of Francesco del Cossa. (According to Vasari, Ercole also apprenticed under Lorenzo Costa in Bologna, but this seems unlikely as he was Lorenzo's senior by seveal years). He is known to have collaborated in the frescoes of Palazzo Schifanoia. Ercole's first mature works are his contributions to the Griffoni Chapel for the San Petronio Basilica in Bologna: a predella depicting the Miracles of St Vincent Ferrer (c.1473) (now in the Pinacoteca of the Vatican), and lateral pilasters for the altarpiece commissioned from del Cossa. In 1480, Ercole created a large altarpiece with a Madonna and Child Enthroned with Saints for Santa Maria in Porto in Ravenna, which is now in the Brera, Milan. Portraits of Giovanni II Bentivoglio and Ginevra Bentivoglio attributed to Ercole de' Roberti (c. 1480) are in the National Gallery of Art, Washington, D.C. Ercole succeeded Cosm?? Tura as court painter to the Este family in Ferrara around 1486. His role apparently went far beyond making art: he accompanied Alfonso d'Este on a papal visit to Rome, served as wardrobe manager for Isabella d'Este's wedding in Mantua, and may even have made salamis. A painting of Portia and Brutus (c. 1486-90), believed to be painted for Eleonora of Aragon, duchess of Ferrara, is in the Kimbell Art Museum, Fort Worth, Texas. Ercole's painting of Saint Jerome in the Wilderness from this period is in the collection of the J. Paul Getty Museum, Los Angeles.
Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.
Edmund john niemann
1814-1901






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