b. March 30, 1746, Fuendetodos, Spain--d. April 16, 1828, Goya is considered the 18th Century's foremost painter and etcher of Spanish culture, known for his realistic scenes of battles, bullfights and human corruption. Goya lived during a time of upheaval in Spain that included war with France, the Inquisition, the rule of Napoleon's brother, Joseph, as the King of Spain and, finally, the reign of the Spanish King Ferdinand VII. Experts proclaim these events -- and Goya's deafness as a result of an illness in 1793 -- as central to understanding Goya's work, which frequently depicts human misery in a satiric and sometimes nightmarish fashion. From the 1770s he was a royal court painter for Charles III and Charles IV, and when Bonaparte took the throne in 1809, Goya swore fealty to the new king. When the crown was restored to Spain's Ferdinand VII (1814), Goya, in spite of his earlier allegiance to the French king, was reinstated as royal painter. After 1824 he lived in self-imposed exile in Bordeaux until his death, reportedly because of political differences with Ferdinand. Over his long career he created hundreds of paintings, etchings, and lithographs, among them Maya Clothed and Maya Nude (1798-1800); Caprichos (1799-82); The Second of May 1808 and The Third of May 1808 (1814); Disasters of War (1810-20); and The Black Paintings (1820-23).  Related Paintings of Francisco de goya y Lucientes :. | The Divided Arena 1825 Lithograph | Portrait of Javier Goya | A Prison Scene | Portrait of the Wife of Juan Agust | Out hunting for teeth |
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Pieter Bruegel the Elder
(Dutch pronunciation:c. 1525 - 9 September 1569) was a Flemish Renaissance painter and printmaker known for his landscapes and peasant scenes (Genre Painting). He is sometimes referred to as "Peasant Bruegel" to distinguish him from other members of the Brueghel dynasty, but is also the one generally meant when the context does not make clear which "Bruegel" is being referred to. From 1559 he dropped the 'h' from his name and started signing his paintings as Bruegel. There are records that he was born in Breda, Netherlands, but it is uncertain whether the Dutch town of Breda or the Belgian town of Bree, called Breda in Latin, is meant. He was an apprentice of Pieter Coecke van Aelst, whose daughter Mayken he later married. He spent some time in France and Italy, and then went to Antwerp, where in 1551 he was accepted as a master in the painter's guild. He traveled to Italy soon after, and then returned to Antwerp before settling in Brussels permanently 10 years later. He received the nickname 'Peasant Bruegel' or 'Bruegel the Peasant' for his alleged practice of dressing up like a peasant in order to mingle at weddings and other celebrations, thereby gaining inspiration and authentic details for his genre paintings. He died in Brussels on 9 September 1569 and was buried in the Kapellekerk. He was the father of Pieter Brueghel the Younger and Jan Brueghel the Elder. Both became painters, but as they were very young children when their father died, it is believed neither received any training from him.
Bengt Nordenberg
1822-1902
Justus van Gent
(or Joos van Wassenhove), Justus or Jodocus of Ghent, or Giusto da Guanto (c. 1410 - c. 1480) was an Early Netherlandish painter who later worked in Italy. The public records of the city of Ghent have been diligently searched, but in vain, for a clue to the history of Justus or Jodocus, whom Vasari and Guicciardini called Giusto da Guanto. Flemish annalists of the 16th century have enlarged upon the scanty, unsourced statements of Vasari, and described Jodocus as a pupil of Hubert van Eyck. The registers of the Guild of St Luke at Ghent comprise six masters of the name of Joos or Jodocus who practised at Ghent in the 15th century. But none of the works of these masters has been preserved, and it is impossible to compare their style with that of Giusto. Federico da Montefeltro and His Son, GuidobaldoBetween 1465 and 1474, this artist executed the Communion of the Apostles which Vasari described, and which is now in the Galleria Nazionale delle Marche in Urbino. It was painted for the brotherhood of Corpus Christi at the bidding of Frederick of Montefeltro, who was introduced into the picture as the companion of Caterino Zeno, a Persian envoy at that time on a mission to the court of Urbino. From this curious production it may be seen that Giusto, far from being a pupil of the putative Hubert Van Eyck, must have been studied with a later master, possibly Dieric Bouts. As a composer and draughtsman Giusto compares unfavourably with the better-known painters of Flanders; though his portraits are good, his ideal figures are not remarkable for subtlety of character and expression. Technically, he compares on a level with that of Geertgen tot Sint Jans, whose most famous pictures are preserved in the Kunsthistorisches Museum at Vienna. Vespasian, a Florentine bookseller who contributed much to form the antiquarian taste of Frederick of Montefeltro, states that this duke sent to the Netherlands for a capable artist to paint a series of ancient worthies for a library recently erected in the palace of Urbino. It has been conjectured that the author of these 28 portraits of "Famous Men," which are still in existence at the Louvre and in the Galleria Nazionale delle Marche at Urbino, was Justus van Gent. Seven (?) Liberal Arts: a young man (Constanzo Sforza?) before Music (National Gallery, London). Another painting from this cycle, with Federigo da Montefeltro before Rhetoric was destroyed in Berlin in 1945Yet there are notable divergences between these pictures and the Communion of the Apostles. Still, it is possible that Giusto should have been able, after a certain time, to temper his Flemish style by studying the masterpieces of Santi and Melozzo, and so to acquire the mixed manner of the Flemings and Italians which these portraits of worthies display. Such an assimilation, if it really took place, might justify the Flemings in the indulgence of a certain pride, considering that Raphael not only admired these worthies, but copied them in the sketch-book which is now the ornament of the Venetian Academy. There is no ground for presuming that Giusto da Guanto is identical with Justus d'Allamagna who painted the Annunciation (1451) in the cloisters of Santa Maria di Castello at Genoa. The drawing and coloring of this wall painting shows that Justus d'Allamagna was as surely a native of south Germany as his homonym at Urbino was a born Netherlander.