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Dieric Bouts
1420-1475 Flemish Dieric Bouts Locations
Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter."
It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background.
The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions.
In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places.
The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape.
In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature. Related Paintings of Dieric Bouts :. | St John the Baptist | The Ordeal by Fire | The Martyrdom of St.Erasmus | The Execution of the Innocent Count | Resurrection | Related Artists: Charles Beaubrun (Charles Bobrun) (1604 - 1692) was a French portrait painter active in Paris between 1630-70.
Charles Beaubrun was born at Amboise, a member of a distinguished family of painters. He studied under his uncle Louis Beaubrun (d. 1627). He and his cousin Henri Beaubrun (II) (1603 - 1677), were portrait painters in the courts of King Louis XIII and Louis XIV of France. Some of his work is jointly attributed to Henri. His youngest brother, Michel Beaubrun (d 1642), was also a painter. Charles Beaubrun died at Paris.
Carl Wilhelmson1866-1928
Swedish painter and lithographer. Wilhelmson trained first as a commercial lithographer in Göteborg. In 1886 he enrolled as a student of decorative painting at Valand College of Art where his teacher was Carl (Olof) Larsson. In 1888, having obtained a travel grant, he went to Leipzig to study lithographic technique. From 1890 to 1896 he lived in Paris, where he worked as a lithographer and commercial artist and studied at the Academie Julian. Wilhelmson's preferred subject-matter was the coastal landscape of Bohuslen and the people of its little fishing villages with their huddles of wooden houses. There is no trace of ethnography in his depictions of local life; they are full of serious realism and display a sensitive insight into the perilous life of the fishermen, with which he had been familiar since childhood. In the Village Shop George W.LambertRussia-born Australian portrait painter
1873 - 1930
Australian painter, draughtsman and sculptor. He lived for a period in Europe and emigrated to Australia in 1887. He trained under Julian Rossi Ashton, gaining early recognition for his draughtsmanship. In 1901 he studied in Paris at the Acad?mie Colarossi under Auguste Del?cluse (b 1855). He was strongly influenced by the work of Diego Vel?zquez and Edouard Manet. The work of Sandro Botticelli later inspired him to paint in a high key and with an enhanced realism, as in Important People (1914; Sydney, A.G. NSW). He lived in England from 1902 to 1921
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