b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.  Related Paintings of Albrecht Durer :. | The Death of the Virgin | The Virgin in Prayer | Self-Portrait | Abduction of a Woman | Heiliger Onophrius |
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Frank Duveneck
1848-1919 Frank Duveneck Gallery Frank Duveneck (October 9, 1848 ?C January 3, 1919) was an American figure and portrait painter. Duveneck was born in Covington, Kentucky, the son of a German immigrant Bernard Decker. Decker died when Frank was only a year old and his widow remarried Joseph Duveneck. By the age of fifteen Frank had begun the study of art under the tutelage of a local painter, Johann Schmitt and had been apprenticed to a German firm of church decorators. While having grown up in Covington, Duveneck was a part of the German community in Cincinnati, Ohio. However, due to his Catholic beliefs and German heritage, he was an outsider as far as the artistic community of Cincinnati was concerned. In 1869 he went abroad to study with Wilhelm von Diez and Wilhelm Leibl at the Royal Academy of M??nich, where he learned a dark, realistic and direct style of painting. He subsequently became one of the young American painters ?? others were William Merritt Chase, John Henry Twachtman, and Walter Shirlaw ?? who in the 1870s overturned the traditions of the Hudson River School and started a new art movement characterized by a greater freedom of paint application.
Marstrand, Wilhelm
Danish, 1810-1873 Danish painter and illustrator. He was a student of C. W. Eckersberg at the Kunstakademi in Copenhagen (1825-33). His art reflects his constant observation of the world around him, in particular middle-class society, and the narrative element dominated his pictures of crowds in the city streets. Throughout his life he sought inspiration from literature and the theatre. In his early genre painting Moving Day Scene (1831; Niv?, Nivaagaards Malsaml.) it was the popular novelty of vaudeville that interested him. The October Festival (1839; Copenhagen, Thorvaldsens Mus.) reveals how Marstrand's five-year stay (1836-41) in Italy opened his eyes to the classical ideal of beauty. It was, however, an ideal that found little response in contemporary Denmark, and he turned towards a more anecdotal and humorous approach. In Scene of Country Life (1843; Copenhagen, Kon. Dan. Kstakad.), painted as a set subject for the Kunstakademi, Marstrand took as his theme a scene from Erasmus Montanus, a play by the 18th-century Danish poet and playwright Ludvig Holberg. Thereafter Holberg's comedies provided an inexhaustible source that satisfied Marstrand's need to pursue his investigations of human character. Family life similarly interested him throughout his career, as in his Scene of Daily Life (1857; Copenhagen, Stat. Mus. Kst). Such group portraits as The Waagepetersen Family (1836; Copenhagen, Stat. Mus. Kst) show an equal concern to depict the quiet details of Danish domestic life. Marstrand continued to travel abroad in search of inspiration. His stay in Venice in 1853-4 was particularly important; his studies there of the great Venetian painters improved his understanding of the handling of colour, as seen clearly in the many historical and religious paintings of his last years. Of particular interest is his mural decoration of Christian IV's chapel in Roskilde Cathedral (1864-6) with scenes from the life of the Danish monarch. Marstrand's paintings have a certain facetiousness which often obscures a much deeper philosophical content. For this reason, it is his drawings that arouse more admiration.
Pieter Codde
1599-1678 Dutch Pieter Codde Locations ), was a Dutch painter of genre works and portraits, also known to be a poet. He is said to have studied with Frans Hals, but it is more likely that his training was with a portrait painter, Barent van Someren (1572 ?C 1632) or possibly with Cornelis van der Voort (1576 ?C 1624). His earliest work is known to be a piece from 1626, Portrait of a Young Man, now in the Ashmolean. Most of his best remembered works were executed in Amsterdam and were small-scale paintings. They were distinctive in their silvery-gray tonalities, and many were musically themed, such as his first known genre work, Dancing Lesson (Louvre) from 1627, Musical Company of 1639, The Lute Player (Philadelphia Museum of Art) and, Concert, a piece now in the Uffizi Gallery. The other piece by Codde in the Uffizi is a genre work, Conversation. Codde also painted historical religious works, such as his Adoration of the Shepherds, from 1645, in the Rijksmuseum of Amsterdam. Though it is unknown whether he studied with Frans Hals, his style is undoubtedly similar in some respects. He was commissioned in 1637 to complete an unfinished work of Hals, Officers of the Company of the Amsterdam Crossbow Civic Guard Under Captain Reynier Reael and Lieutenant Cornelis Michielsz Blaeuw. While the choice of Codde to complete this work by Hals was not an obvious selection at the time, Codde work in the portrait matched the original so well that it is uncertain who painted what, although the Rijksmuseum, which now houses the work, states that Codde??s style is recognizable smoother.