Flemish-born Spanish Northern Renaissance Painter, ca.1460-1519 South Netherlandish painter, active in Spain. Nothing is known of his life or work before he went to Spain, where he is first mentioned in a document of 1496 as Juan de Flandes, a painter in the service of Queen Isabella of Castile. Treasury accounts confirm that he held this position until the Queen death in 1504. On arriving in Spain, he must have lived in Burgos, where he certainly met MICHEL SITTOW, another painter in the Queen service, who had been at the Castilian court since 1492.  Related Paintings of Juan de Flandes :. | Portrait of Philip I of Castile | Virgin and Child before a Landscape | Portrait of Joan the Mad | Herodias' Revenge | Vase of Flowers |
Related Artists:
Isaac Whitehead
Australian c.1819-1881
bruno liljefors
Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators. Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality. The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon. He amassed a collection of animals to act as his living models. Ernst Malmberg recalled: The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1] The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote: The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]
k. e. jansson
Karl Emanuel Jansson, född 7 juli 1846 i Finström, Åland, död 1 juni 1874 i Jomala, var en åländsk konstnär. Han var näst äldst av sju syskon. Han far, Jan Jansson, var en bonde i Pålsböle. Sina konstnärliga inspiration fick han av sockenmålaren G Kjellgren, vid sex-sju års ålder, när han där lärde sig att läsa och skriva. Efter avlutad skolgång sattes han i skomakarlära. Efter ett år drogs han till Kjellgren och fungerade som hans hjälpreda. Kyrkoherden Frans von Knorring såg i slutet av 1859 några av hans teckningar. Han sände några till Finska Konstföreningens direktion och lovordade Karl. Förening gav ett bidrag för att kunna studera vid Finska Konstföreningens ritskola i Åbo, under ledning av Robert Wilhelm Ekman. Av Ekman fick han husrum, rit- och målningsmaterial och en hel del extra undervisning. Karl gjorde stora framsteg under de 2 åren han målade med Ekman. Jansson flyttade hösten 1862 till Stockholm, för att kunna utvecklas mer som artist, och inskrevs som elev vid Kongl. Akademin för de fria konsterna. Han tog anatomiexamen 1863. Han levde under svåra ekonomiska förhållanden och hade svårt att sälja sina verk. Jansson fick hård kritik för de målningar han sände hem, exempelvis, Babian ätande en råtta, och konstföreningen betraktade dem med avsky. Han började då kritisera sig själv allt mer och mer, och den inställningen behöll han. Han fick inte den uppmärksammad han behövde. Tavlan Den förlorade sonens återkomst, belönades med ett pris. Han avslutade sin utbildning vid akademien 1867 med mycket beröm. Jansson lyckades utverka statsstöd för studier i Dusseldorf och reste dit på hösten 1868. Han åkte hem igen sommaren 1870 och tillbringade ett år på Åland innan han återvände till Dusseldorf. Han var nu märkt av en tilltagande lungsjukdom. De sista verk han fullbordade var Talmannen och En slant i håven. För att lindra sin sjukdom reste han till Rom i mars 1872. Efter några månader åkte han runt till olika kurorter (Davos, Meran) men inget förbättrade hans tillstånd. Efter en liten tid i D??sseldorf kom han hem till Åland sensommaren 1873. Karl flyttade in på Jomala gård, där lagman Lönnblad och hans fru tog hand om honom. Han målade några verk, vilka blev ofullbordade. På dödsbädden fick han veta att han belönats på världsutställningen i Wien för sina konstverk Klöveress och Talmannen, samt att han blivit medlem i konstakademin i Sankt Petersburg. Han dog 1 juni 1874, inte ens fylld 28 år.