Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance ... is, with Jan van Eyck, considered one of the greatest exponents of the school of Early Netherlandish painting. Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr??los. The family had settled before in the city of Tournai where Rogiers father worked as a 'maître-coutelier' (knife manufacturer). In 1426 Rogier married Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'Little is known about Rogier's training as a painter. The archival sources from Tournai (completely destroyed during World War II, but luckily partly transcribed in the 19th and early 20th century) are somewhat confusing and have led to different interpretations by scholars. From a document it is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on March the 17th 1427. However, on the 5th of March of the following year the records of the painters' guild show a certain 'Rogelet de le Pasture' entered the workshop of Robert Campin together with Jacques Daret. Only five years later, on the first of August 1432, Rogier de le Pasture obtains the title of 'Master' (Maistre) as a painter.[1] Many have doubted whether Campin's apprentice 'Rogelet' was the same as the master 'Rogier' that was offered the wine back in 1426. The fact that in 1426-1427 Rogier was a married man in his late twenties, and well over the normal age of apprenticeship has been used as an argument to consider 'Rogelet' as a younger painter with the same name. In the 1420's however the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship of Rogier/Rogelet may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade. It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and 'learned' iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition. The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general the close stylistical link between the documented works of Jacques Daret, and the paintings attributed to Robert Campin and Rogier van der Weyden is considered as the main argument to consider Rogier van der Weyden as a pupil of Robert Campin. The last mention of Rogier de la Pasture in the financial records of Tournai, on October 21, 1435, lists him as demeurrant ?? Brouxielles ('living in Brussels'). At the same time, the first mention of Rogier de Weyden is made as the official painter of Brussels. Therefore Rogier de la Pasture and Rogier Van der Weyden are thought to be one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the 'Golden Chamber' of Brussels City Hall.[2] Different properties and investments are documented and witness his material prosperity. The portraits he painted of the Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship with the elite of the Netherlands. The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445.  Related Paintings of Rogier van der Weyden :. | The Last Judgment | The Last Judgment | St Columba Altarpiece | The Annunciation (mk05) | Deposition |
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Edward Moran
(August 19, 1829 in Bolton, Lancashire, England -June 8, 1901 in New York City) was an American artist. He emigrated with his family to America at the age of 15, and subsequently settled in Philadelphia, where after having followed his fathers trade of weaver, he became a pupil of James Hamilton and Paul Weber. In 1862 he became a pupil of the Royal Academy in London; he established a studio in New York in 1872, and for many years after 1877 lived in Paris. He was a painter of marine subjects and examples of his work such as Devile Crag; Island of Grand Manan are in many prominent collections. Among his canvases are 13 historical paintings, intended to illustrate the marine history of America from the time of Leif Ericsson to the return of Admiral Dewey's fleet from the Philippines in 1899. His sons Edward Percy Moran (born 1862) and Leon Moran (born 1864), and his brothers Peter Moran (born 1842) and Thomas Moran.
Carl Oscar Borg
Swedish-born American Sculptor, 1879-1947 was a Swedish painter who emigrated to the United States around 1900. Borg was influenced by the nature of Arizona and New Mexico, and his works were widespread in American galleries. Borg was a founding member of the Painter's Club of Los Angeles and the California Art Club.
Charles Wellington Furse
(January 13, 1868 - October 16, 1904) was an English painter. He was born at Staines, the son of the Rev. C. W. Furse, archdeacon of Westminster, and rector of St John's, Smith Square and descended collaterally from Sir Joshua Reynolds; and in his short span of life achieved such rare excellence as a portrait and figure painter that he forms an important link in the chain of British portraiture which extends from the time when Van Dyck was called to the court of Charles I into the 20th century. His talent was precocious; at the age of seven he gave indications of it in a number of drawings illustrating Scott's novels. He entered the Slade School in 1884, winning the Slade scholarship in the following year, and completed his education at Julians Atelier in Paris. Hard worker as he was, his activity was frequently interrupted by spells of illness, for he had developed signs of consumption when he was still attending the Slade school. An important canvas called Cain was his first contribution (1888) to the Royal Academy, to the associateship of which he was elected in the year of his death. For some years before he had been a staunch supporter of the New English Art Club, to the exhibitions of which he was a regular contributor. In October 1900 he married Katharine Symonds, the daughter of John Addington Symonds. She later became known as Dame Katharine Furse. The couple had 2 sons. His fondness for sport and of an open-air life found expression in his art and introduced a new, fresh and vigorous note into portraiture. There is never a suggestion of the studio or of the fatiguing pose in his portraits. The sitters appear unconscious of being painted, and are generally seen in the pursuit of their favourite outdoor sport or pastime, in the full enjoyment of life. Such are the Diana of the Uplands, the Lord Roberts and The Return from the Ride at the Tate Gallery; the four children in the Cubbing with the York and Ainsty, The Lilac Gown, Mr. and Mrs. Oliver Fishing and the portraits of Lord Charles Beresford and William Johnson Cory. Most of these pictures, and indeed nearly all the work completed in the few years of Furse's activity, show a pronounced decorative tendency. His sense of space, composition and decorative design can best be judged by his admirable mural decorations for Liverpool town hall, executed between 1899 and 1902. A memorial exhibition of Furse's paintings and sketches was held at the Burlington Fine Arts Club in 1906.