Flemish painter (b. ca. 1415, Haarlem, d. 1475, Leuven).  Related Paintings of BOUTS, Dieric the Elder :. | Paradise fg | Resurrection (detail) fd | Resurrection f | The Entombment (detail) fg | Ecce agnus Dei fg |
Related Artists:
Victor Borisov-Musatov
(Russian), (April 14 [O.S. April 2] 1870 - November 8 [O.S. October 26] 1905) was a Russian painter, prominent for his unique Post-Impressionistic style that mixed Symbolism, pure decorative style and realism. Together with Mikhail Vrubel he is often referred as the creator of Russian Symbolism style. Victor Musatov was born in Saratov, Russia (he added the last name Borisov later). His father was a minor railway official who had been born as a serf. In his childhood he suffered a spinal injury, which made him humpbacked for the rest of his life. In 1884 he entered Saratov real school, where his talents as an artist were discovered by his teachers Fedor Vasiliev and Konovalov. He was enrolled in the Moscow School of Painting, Sculpture and Architecture in 1890, transferring the next year to the Imperial Academy of Arts in Saint-Petersburg, where he was a pupil of Pavel Chistyakov. The damp climate of Saint-Petersburg was not good for Victor's health and in 1893 he was forced to return to Moscow and re-enroll to the Moscow School of painting, sculpturing and architecture. His earlier works like May flowers, 1894 were labelled decadent by the school administration, who sharply criticised him for making no distinction between the girls and the apple trees in his quest for a decorative effect. The same works however were praised by his peers, who considered him to be the leader of the new art movement. The Pool. 1902In 1895 Victor once again left Moscow School of painting, sculpturing and architecture and enrolled in Fernand Cormon's school in Paris. He studied there for three years, returning in summer months to Saratov. He was fascinated by the art of his French contemporaries, and especially by the paintings of "the father of French Symbolism" Pierre Puvis de Chavannes and by the work of Berthe Morisot. In 1898 Borisov-Musatov returned to Russia and almost immediately fell into what it is called "fin de siecle nostalgia". He complained about "the cruel, the truly iron age", "dirt and boredom", "devil's bog", and he had acute money problems that were somewhat alleviated only in the last years of his life when collectors started to buy his paintings. Musatov's response was creating a half-illusory world of the 19th century nobility, their parks and country-seats. This world was partially based on the estate of princes Prozorvky-Galitzines Zubrilovka and partially just on Musatov's imagination. Borisov-Musatov also abandoned oil-paintings for the mixed tempera and watercolor and pastel techniques that he found more suitable for the subtle visual effects he was trying to create.
Jan de Bray
1627-1697 Dutch Painter, draughtsman and etcher, son of (1) Salomon de Bray. He spent virtually the whole of his career in Haarlem, except for the period 1686-8, when he lived in Amsterdam. After training with his father, Jan began working as a portrait painter in Haarlem in 1650, an activity he continued for the next 40 years. Between 1667 and 1684 he served on the committee for the Haarlem Guild of St Luke, whose leading members he portrayed in a picture dated 1675 (Amsterdam, Rijksmus.) that includes a self-portrait (Jan is seen standing and drawing on the left). He married three times, in 1668, 1670 and 1672. His first two wives died a year after their marriage, his third two years afterwards, and in each case the death was followed by disputes over the inheritance. Jan bankruptcy of 1689 may have been a result of one of the lawsuits. He was 62 at the time, and from then onwards he seems to have lost his artistic drive, crushed by the financial blow and the consequent loss of social position.
Harriet Backer
Norwegian Painter, 1845-1932 Norwegian painter. In the 1860s and early 1870s she took lessons in drawing and painting in Christiania (now Oslo) and also travelled extensively in Europe with her sister Agathe, a composer and pianist. She copied works in major museums and took occasional art lessons; she later considered this experience to have been of fundamental importance to her artistic development. Little Red Riding Hood (1872; Oslo, N.G.) is impressive in technique, and the early portrait of her sister, Agathe Backer-Grendahl (1874; Holmestrand, Komm.), shows a refined colour scheme. At the age of nearly 30 Backer decided to train professionally as a painter and in 1874 went to Munich. She was never attached to a particular institution, but the influence of her friend the artist Eilif Peterssen was crucial to her development. In Munich she made a thorough study of perspective, which formed a secure basis for her later work.