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 :. | Adoration of the Lamb (detail) | Portrait of a Man with Carnation re | Adoration of the Lamb (detail) | Portrait of Giovanni Arnolfini and his Wife (detail) dg | The Annunciation sdw |
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Wynford Dewhurst
British, 1864-1941 Wynford Dewhurst was born in Manchester in 1864. He was educated at home by a private tutor and later at Mintholme College. Although he originally trained to enter the legal profession, he showed artistic flair and decided to pursue a career as a painter after some of his drawings were published in various journals. He gained his artistic training in France at the Ecole des Beaux-Arts, in Paris, where he was a pupil of the renowned French painter Jean-L??on Gerome. Despite his teacher Gerome rejection of the radical Impressionist movement in favour of a highly finished academic style (Gerome continued the development and conservation of French Neoclassicism), Dewhurst was heavily influenced by the Impressionists. It is well known that he first encountered Impressionism, to which he was instantly attracted, in the work of Emile Claus in the Maddocks Collection in Bradford. However his most important mentor would become Claude Monet. It was Monet to whom Dewhurst dedicated his pioneering account of French Impressionism, Impressionist Painting: its genesis and development, in 1904. This was the first important study of the French painters to be published in English. As well as helping to reintroduce British artists to this style of painting, Dewhurst book called attention to the French Impressionists debt to the British artists John Constable and J. M. W. Turner, claiming that the Impressionists simply developed their existing painterly techniques. According to Dewhurst, artists who, like himself, painted in an impressionist manner, were often sneered at for imitating a foreign style, and he was keen to justify their position. French artists simply developed a style which was British in its conception, he wrote, a view that was dismissed by some French painters - such as Pissarro - who revealed his national bias when he acknowledged Constable and Turner but identified instead French influences like Nicolas Poussin, Claude Lorrain, Jean-Baptiste-Sim??on Chardin and Jean-Baptiste-Camille Corot. The thesis that Dewhurst put forward in Impressionist Painting was controversial for it dealt with the debated question of whether Impressionism was French or British in origin. However, it found much support in Britain: Kevin McConkey informs us that Dewhurst theme was taken up by others as various as Clausen, John Rothenstein and Kenneth Clark Nevertheless, Dewhurst detailed biographical notices of the most prominent artists associated with the rise of impressionism in France...leave little to be desired from the historical point of view. It is worth noting that Impressionist Painting also included an entire chapter on female artists, since modernity is the note of Impressionism, and that movement was the very first artistic revolt in which women took part. Indeed, Dewhurst thanks the celebrated female painter Mary Cassatt (who worked within the Impressionist circle) for her assistance in the preface of his book.
Jerg Ratgeb
Jerg Ratgeb (also Jörg) (born circa 1480 in Schwäbisch Gmend; died 1526 in Pforzheim) was a German painter and contemporary of Derer. Around the turn of the 15th to 16th century, Ratgeb appears to have spent time in Italy, where he came in contact with Italian Renaissance art and with the recently developed use of perspective in painting. After returning to Germany, he settled in Heilbronn. In 1510, he painted the altar of Saint Barbara in the church of nearby Schwaigern. From 1514 to 1517 he was in Frankfurt am Main, where he painted the walls of the refectory and cloister of the Karmeliterkloster (Carmelite Monastery). The paintings, of which only fragments survive, are the largest wall paintings known to the north of the Alps from that period. His most famous work is the Herrenberg Altarpiece, completed in 1521. It was originally painted for the Stiftskirche (abbey church) of Herrenberg. Today, it is on display in the Staatgalerie at Stuttgart. Ratgeb had developed a distinctive personal expressive style, visibly influenced by artists such as Albrecht Derer, Matthias Grenewald and Hieronymus Bosch. Fresco in the Karmeliterkloster, Frankfurt am Main. Copy of the altarpiece in the abbey church at Herrenberg - here depicted when closed Because of his marriage with a serf of the Duke of Werttemberg he lost most of his rights as a citizen of Heilbronn. He moved to Stuttgart, where he became a member of the city council. In that position, he negotiated with the rebelling farmers during the German Peasants' War in 1525. He became part of the military contingent requested by the rebels and was elected councillor and chancellor by the peasants. After the suppression of the rebellion, he was arrested, accused of high treason ("because of the Peasant War and on behalf of Duke Ulrich") and finally executed in Pforzheim in 1526, by being torn apart by four horses.
Alexandre-Denis Abel de Pujol
French, 1787-1861