Flemish Northern Renaissance Painter, ca.1395-1441 Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d'Heere, Jan trained with his brother Hubert. Pietro Summonte's assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan's works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of 'Master', working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege.   Related Paintings of EYCK, Jan van :. | Portrait of Giovanni Arnolfini and his Wife (detail) | Adam (detail) | Portrait of Jan de Leeuw swh | Last Judgment sfg | Mary of the Annunciation |
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Antonio Carnicero
Spanish Rococo Era Painter, ca.1748-1814 was a Spanish painter of the Neoclassic style. Born in Salamanca and died in Madrid. He was trained with his father, Alejandro Carnicero, a sculptor. He then traveled to Rome and returned to be named chamber painter for King Charles III of Spain. He also worked as an engraveor.
Johan Hendrik Weissenbruch
Dutch Painter, 1824-1903 Painter, cousin of Jan Weissenbruch. He referred to himself and signed his work as Jan Hendrik Weissenbruch. From 1840 he attended drawing lessons with the Norwegian painter Johannes Lew, and from 1846 he was taught by Bartholomeus J. van Hove at the Koninklijke Academie van Beeldende Kunsten in The Hague. His early paintings clearly show the influence of van Hove and Andreas Schelfhout, although it is uncertain whether he was actually taught by the latter. His father, an avid collector, owned works by both artists.
Octave Tassaert
Paris 1800-1874 was a French painter of portraits and genre, religious, historical and allegorical paintings, as well as a lithographer and engraver, though this family was of Flemish origin. He was the grandson of the sculptor Jean-Pierre-Antoine Tassaert. Octave's first artistic training came from his father Jean-Joseph-François Tassaert (1765-c. 1835) and his older brother Paul (?-1855), before he was apprenticed to the engraver Alexis-François Girard (1787-1870). Next he studied at the École des Beaux-Arts (1817-25) from 1817 through 1825, under Guillaume Guillon-Lethi??re, but never won the school's Prix de Rome. Winning popular but not critical success, his works showing poor people's lives were felt melodramatic by critics but acclaimed by the public. His submission to the 1855 World Exhibition was well received by the critics, but Octave ceased to exhibit after the 1857 Salon, withdrawing more and more from the formal art world. Collectors of his works included Alfred Bruyas and Alexandre Dumas, fils, but in 1863 Octave stopped painting altogether and tried to become a poet (though none of his works are extant),