c.1525-69 Greatest Netherlandish painter of the 16th century. Not much is known of his early life, but in 1551 he set off for Italy, where he produced his earliest signed painting, Landscape with Christ and the Apostles at the Sea of Tiberias (c. 1553). Returning to Flanders in 1555, he achieved some fame with a series of satirical, moralizing prints in the style of Hiëronymus Bosch, commissioned by an Antwerp engraver. He is best known for his paintings of Netherlandish proverbs, seasonal landscapes, and realistic views of peasant life and folklore, but he also took a novel approach to religious subject matter, portraying biblical events in panoramic scenes, often viewed from above. He had many important patrons; most of his paintings were commissioned by collectors. In addition to many drawings and engravings, about 40 authenticated paintings from his enormous output have survived.  Related Paintings of Pieter Bruegel :. | sauls sjalvmord | Beggars | The Sermon of St John the Baptist | Landscape with the Fall of Icarus | misantropen |
Related Artists:
Atkinson Grimshaw
British 1836-1893 Atkinson Grimshaw Gallery Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he put forth landscapes of accurate color and lighting, and vivid detail. He often painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. By applying his skill in lighting effects, and unusually careful attention to detail, he was often capable of intricately describing a scene, while strongly conveying its mood. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene." Dulce Domum (1855), on whose reverse Grimshaw wrote, "mostly painted under great difficulties," captures the music portrayed in the piano player, entices the eye to meander through the richly decorated room, and to consider the still and silent young lady who is meanwhile listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked until the influence of James Tissot and the Aesthetic Movement. On Hampstead Hill is considered one of Grimshaw's finest, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into the onset of night. In his later career this use of twilight, and urban scenes under yellow light were highly popular, especially with his middle-class patrons. His later work included imagined scenes from the Greek and Roman empires, and he also painted literary subjects from Longfellow and Tennyson ?? pictures including Elaine and The Lady of Shalott. (Grimshaw named all of his children after characters in Tennyson's poems.) In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the comparable facility of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures."[9] Unlike Whistler's Impressionistic night scenes, however, Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry." Some artists of Grimshaw's period, both famous and obscure, generated rich documentary records; Vincent Van Gogh and James Smetham are good examples. Others, like Edward Pritchett, left nothing. Grimshaw left behind him no letters, journals, or papers; scholars and critics have little material on which to base their understanding of his life and career. Grimshaw died 13 October 1893, and is buried in Woodhouse cemetery, Leeds. His reputation rested, and his legacy is probably based on, his townscapes. The second half of the twentieth century saw a major revival of interest in Grimshaw's work, with several important exhibits of his canon.
Vicente Carducho
(in Spanish, sometimes Vicencio or Vicente Carducho; 1568-1638) was an Italian painter. He was born in Florence, and was trained as a painter by his brother Bartolomeo, whom he followed to Madrid as a boy. He Initially painted some works at Valladolid and helped his brother in painting at the Escorial for Philip II of Spain. He returned to the court of Philip III in Madrid in 1606 and helped decorate the recently rebuilt Palacio del Pardo. While at work his brother died, and Vicente took his place. He painted there a history of Achilles. When finished, he was employed for four years by the monks of the Chartreuse of el Paular to decorate their monastery with 55 canvases of historical figures the great cloister. 27 represent the live of St. Bruno, 27 of martyrs. He worked a great deal for the subsequent monarch, Philip IV, and his best pictures are those he executed for him as decorations in the Prado. Examples of his work are preserved at Toledo, Segovia, and several other Spanish cities. For many years he labored in Madrid as a teacher of his art, and among his pupils were Giovanni Ricci, Pedro Obregon, Vela,[disambiguation needed ] Francisco Collantes, and other distinguished representatives of the Spanish school during the 17th century. He also authored a treatise, De las Excelencias de la Pintura or Dielogos de la pintura, su defensa, origen, essencia, definicien, modos, y differencias, published in 1633. Written in classical tradition as a dialogue between a master and an apprentice. Following strict piety of the Spanish realm,
J. Alden Weir
(August 30, 1852 - December 8, 1919) was an American impressionist painter and member of the Cos Cob Art Colony near Greenwich, Connecticut. Weir was also one of the founding members of "The Ten", a loosely-allied group of American artists dissatisfied with professional art organizations, who banded together in 1898 to exhibit their works as a stylistically unified group.