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 :. | Five Male Nudes | Nude With Staff seen from behind | Head of a Weeping cherub | Portrait of a young man | Jakob Fugger |
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Vilhelm Hammershoi
Danish Painter, 1864-1916, was a painter born in Copenhagen, Denmark known for his poetic, low-key portraits and interiors.The son of a well-to-do merchant, Christian Hammershoi and his wife, Frederikke (nee Rentzmann), Vilhelm studied drawing from the age of eight with Neils Christian Kierkegaard and Holger Gronvold, as well as painting with Vilhelm Kyhn, before embarking on studies with Frederik Vermehren and others at the Royal Danish Academy of Fine Arts. From 1883 to 1885, he studied with Peder Severin Kroyer.
Jan Vermeer van Utrecht
(bapt. 16 February 1630, Schipluiden - c. 1696, Vreeswijk), was a Dutch Golden Age painter. Though he was born near Delft, there is no known relation between this painter and Johannes Vermeer. His father died when he was 10 and he was raised by his step-grandfather in Rotterdam. According to Houbraken he travelled to Italy with Lieve Verschuier and became friends with Willem Drost and Johann Carl Loth. He returned North in 1662, where he became member of the Utrecht Guild of St. Luke in 1663 and became deacon of the guild 1664-1666.Houbraken tells a curious story about Vermeer van Utrecht in his biography of Jan Davidsz de Heem. In this story, on his return from Italy, Vermeer marries a widow who owns a white lead factory. He is wealthy and has a carefree life until his wife dies and then his factory is burned by French soldiers. He manages to save a garland painting by De Heem that he once paid 2000 guilders for. This was an enormous sum of money, but Houbraken mentions that his grandfather had been a wealthy man, and until his factory was destroyed, Vermeer van Utrecht had been painting for pleasure, rather than professionally. The amount is meant as an indication of the fame and esteem of De Heem, rather than the wealth of Vermeer van Utrecht. Vermeer van Utrecht then applies to his benefactor, Frederick Nassau de Zuylestein, to give him a government post in return for this painting, which he offers to paint with the likeness of the young prince Willem III in the middle of the garland. The lord of Zuylestein was the governor of the young prince from 1659 to 1666, so this deal must have been done sometime between 1662 (Vermeer van Utrecht's return from Italy), and 1672 (the death of the lord of Zuylestein). Apparently, the deal is done, and several years pass, in which Vermeer van Utrecht did become an appointed member of the Utrecht regency (Vroedschap), but where he felt like a fifth wheel. In 1672 the Utrecht council takes pity on him, and gave him the post of Toll-collector and controller of the river lock at Vreeswijk, where he later remarried.
John Neagle
1796-1860 John Neagle Gallery Neagle's training in art began with instruction from the drawing-master Pietro Ancora and an apprenticeship to Thomas Wilson, a well-connected painter of signs and coaches in Philadelphia. Wilson introduced him to the painters Bass Otis and Thomas Sully, and Neagle became a protege of the latter. In 1818 Neagle decided to concentrate exclusively on portraits, setting up shop as an independent master. Aside from brief sojourns in Lexington, Kentucky, and New Orleans, Louisiana, he spent his career in Philadelphia. In May 1826 he married Sully's stepdaughter Mary, and for a time the son-in-law and father-in-law dominated the field of portraiture in the city. Neagle served as Director of the Pennsylvania Academy of Fine Arts, and was also a founder and president (1835-43) of the Artist's Fund Society of Philadelphia.