(between 1480 and 1490 - Bruges, July 1551), was a Flemish Northern Renaissance painter, who from documentary evidence was clearly a significant artist of his period, but to whom no specific works can be clearly documented. As hypothesised by art historians, he ran a large workshop specializing in religious subjects and devotional paintings, painting conservatively in the tradition of Early Netherlandish painting. He is believed by some to be the anonymous Master of the Seven Sorrows of the Virgin. Other art historians doubt that any works can be reliably attributed to him, and the number of paintings attributed to him by major museums has been in decline for many decades. There are only a few documentary records of his life, and some mentions in literature from his lifetime or soon after, but he cannot be documented as the creator of any surviving work; everything else consists of hypothesis. It is possible that he was born in Haarlem or even in Antwerp about 1490. It is not known where or with which painter he served his apprenticeship. He is named for the first time in 1510, when he came to Bruges and bought his burghership. In November of the same year he already became master in the painterse Guild of St. Luke and the goldsmithse guild of St. Elooi. He was later elected nine time a deacon (in Old Dutch : vinder) and twice the governor (in Old Dutch : gouverneur = treasurer) of the guild. Soon he had an important workshop, probably in the Korte Vlaminckstraat in Bruges. This was close to the workshop of Gerard David, at the Vlamijncbrugghe and the former workshop of Hans Memling. Bruges, at that time, was one of the richest towns in Europe. Rich traders and merchants ordered diptychs and portraits for personal use. Isenbrandt painted mainly for private clients. However, there were some paintings that were created without any particular commission. He had enough work to even put out work to other painters in Bruges, as a legal suit from 1534 by Isenbrandt against Jan van Eyck (not the famous one) for non-delivery of paintings he had ordered, demonstrates. He was also appointed the agent in Bruges of the painter Adriaan Provoost (son of Jan Provoost), who had moved to Antwerp in 1530. Contemporary sources therefore mention Isenbrandt as a famous and well-to-do painter. He married twice, the first time with Maria Grandeel, daughter of the painter Peter Grandeel. They had one child. After her death in 1537, he married again in 1547 with Clementine de Haerne. This second marriage resulted in two daughters and a son. He also had an extramarital daughter with the innkeeper Katelijne van Brandenburch (who was at the same the mistress of his friend Ambrosius Benson). When he died in 1551, he was buried alongside his first wife at the cemetery of the St. Jacob church in Bruges; his children inherited no less than four houses with surrounding property.   Related Paintings of Adriaen Isenbrant :. | Portrait of Paulus de Nigro | Triptych | Madonna and Child in a landscape | The Magdalen in a Landscape | Virgin and Child Enthroned |
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George Arnull
British,active 1825-1838
Carlo Dolci
1616-1686 Italian Carlo Dolci Locations Italian painter. The major Florentine painter of the 17th century, he enjoyed an international reputation in his own lifetime. He was a gifted portrait painter and painted a number of large altarpieces, but his reputation is largely based on his half-length, single-figure paintings, characterized by their intense religiosity and meticulous technique. His mature style was complex and sophisticated. Intended for cultivated and aristocratic circles, his was never a popular art in any sense. Baldinucci described the painter tormented fantasy and dark fantasms, and his disturbed personality is evident throughout his work after the later 1640s.
Agnes Goodsir
(18 June 1864, Portland, Victoria - 1939, France) was an Australian portrait painter who moved within lesbian circles in Paris in the 1920s and 1930s. Goodsir was one of eleven children born to David James Cook Goodsir, Commissioner of Customs at Melbourne, and Elizabeth Archer. Her early art training started with Arthur T. Woodward at the Bendigo School of Mines in the 1890s, and in 1899 some of her work was raffled in Bendigo to partly finance her study in Paris. The years following World War I saw a virtual exodus of Australian artists on a sort of Grand Tour to Paris, all intent on being part of the explosion of the arts taking place there. Painters like Rupert Bunny, Stella Bowen and Max Meldrum were drawn there by the appeal of the Left Bank. Others like Margaret Preston and Grace Crowley were inspired to develop in new directions by post-war Parisian art. Goodsir attended the Academie Delecluse, the Academie Julian and then the Academie Colarossi. From about 1912 she shuttled between London and Paris, but finally settled in Paris at 18 Rue de l'Odeon. Her constant companion was Rachel Dunn, depicted in several of her paintings, such as The Chinese Skirt 1933, Girl with Cigarette 1925, The Letter 1926 and Morning Tea 1925. Her work was acclaimed and exhibited at the New Salon, the Salon des Independants, and the Societe Nationale des Beaux Arts in Paris as well as at the Royal Academy and the Royal Institute in London. On a short visit to Australia in 1927 she exhibited at the Macquarie Galleries in Sydney and the Fine Arts Gallery in Melbourne. In 1938 four of her oils were shown at the sesquicentennial exhibition at the NSW National Art Gallery. On her death in 1939, her paintings were left to her companion Rachel Dunn, who sent some 40 to Agnes's family in Australia and others to Australian galleries.