1456-1496 Italian Ercole Roberti Gallery Ercole de' Roberti (c. 1451 ?C 1496), also known as Ercole Ferrarese or Ercole da Ferrara, was an Italian artist of the Early Renaissance and the School of Ferrara. He was profiled in Vasari's Le Vite delle pi?? eccellenti pittori, scultori, ed architettori. The son of the doorkeeper at the Este castle, Ercole later held the position of court artist for the Este family in Ferrara. According to Vasari: By 1473, when he was 17, Ercole had left Ferrara and was working in Bologna in the studio of Francesco del Cossa. (According to Vasari, Ercole also apprenticed under Lorenzo Costa in Bologna, but this seems unlikely as he was Lorenzo's senior by seveal years). He is known to have collaborated in the frescoes of Palazzo Schifanoia. Ercole's first mature works are his contributions to the Griffoni Chapel for the San Petronio Basilica in Bologna: a predella depicting the Miracles of St Vincent Ferrer (c.1473) (now in the Pinacoteca of the Vatican), and lateral pilasters for the altarpiece commissioned from del Cossa. In 1480, Ercole created a large altarpiece with a Madonna and Child Enthroned with Saints for Santa Maria in Porto in Ravenna, which is now in the Brera, Milan. Portraits of Giovanni II Bentivoglio and Ginevra Bentivoglio attributed to Ercole de' Roberti (c. 1480) are in the National Gallery of Art, Washington, D.C. Ercole succeeded Cosm?? Tura as court painter to the Este family in Ferrara around 1486. His role apparently went far beyond making art: he accompanied Alfonso d'Este on a papal visit to Rome, served as wardrobe manager for Isabella d'Este's wedding in Mantua, and may even have made salamis. A painting of Portia and Brutus (c. 1486-90), believed to be painted for Eleonora of Aragon, duchess of Ferrara, is in the Kimbell Art Museum, Fort Worth, Texas. Ercole's painting of Saint Jerome in the Wilderness from this period is in the collection of the J. Paul Getty Museum, Los Angeles.  Related Paintings of Ercole Roberti :. | Portrait of Giovanni II Bentivoglio | Treasures of Liverpool | Der Traum des Architekten | The Wife of Hasdrubal and her Children | The Adoration of the Shepherds,the dead Christ Supported by two angels in the sepulcher |
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David Bailly
(1584-1657) was a Dutch Golden Age painter. Bailly was born at Leyden in the Dutch Republic, the son of a Flemish immigrant, calligrapher and fencing master, Peter Bailly. As a draftsman, David was pupil of his father and the copper engraver Jacques de Gheyn. David Bailly apprenticed with a surgeon-painter Adriaan Verburg in Leiden and then with Cornelius van der Voort (1576-1624), a portrait painter in Amsterdam. According to Houbraken, in the winter of 1608, Bailly took his Grand Tour, travelling to Frankfurt, Nuremberg, Augsburg Hamburg, and via Tirol to Venice, and from there to Rome. On his return he spent five months in Venice, all the while working as a journeyman where he could, before crossing the alps again in 1609. On his return voyage, Bailly worked for several German princes including the Duke of Brunswick. Upon his return to the Netherlands in 1613, Bailly began painting still-life subjects and portraits, including self-portraits and portraits of his students and professors at the University of Leiden. He is known for making a number of vanities paintings depicting transience of this life, with such ephemeral symbols as flowers and candles. Bailly taught his nephews Harmen and Pieter Steenwijck.
Lord Frederic Leighton
British 1830-1896 Lord Frederic Leighton Locations
Jan van der Heyden
1637-1712 Dutch Jan Van Der Heyden Gallery Van der Heyden grew up in Gorcum, but the family moved to Amsterdam around 1650. They lived on Dam Square. As a young guy he witnessed the fire in the old townhall which made a deep impression on him. He later would describe or draw 80 fires in almost any neighborhood of Amsterdam. When he married in 1661 the family was living on Herengracht, the most fashionable canal in Amsterdam. In 1668 Cosimo II de' Medici bought one of his paintings, a view of the townhall with a manipulated perspective. Van der Heyden often painted country estates, like Goudestein, owned by Joan Huydecoper II. He was not good in drawing figures and used for his paintings a metal plate for bricks, a sponge or moss for the leaves. Johannes Lingelbach, Adriaen van de Velde und Eglon van der Neer assisted him drawing the figures. Jan van der Heyden also introduced the lamp post and in 1672 impoved the design of the fire engine. He died in wealth as the superintendent of the lighting and director of the (voluntary) firemen's guild at Amsterdam. Van der Heyden was a contemporary of the landscape painters Hobbema and Jacob van Ruisdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics. Until 1672 he painted in partnership with Adriaen van de Velde. After Adrian's death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century. Van der Heyden, who was perfect as an architectural draughtsman insofar as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or "moated granges," common in his native country. He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He could reproduce the rows of bricks in a square of Dutch houses sparkling in the sun, or stunted trees and lines of dwellings varied by steeples, all in light or thrown into passing shadow by moving cloud. He had the art of painting microscopically without loss of breadth or keeping. But he could draw neither man nor beast, nor ships nor carts; and this was his disadvantage. His good genius under these circumstances was Adrian van der Velde, who enlivened his compositions with spirited figures; and the joint labour of both is a delicate, minute, transparent work, radiant with glow and atmosphere.