1566-1638 Georg Flegel Location German painter. He was the son of a shoemaker, and not being a Roman Catholic, probably moved to Vienna after 1580, when the Counter-Reformation began to take effect in Olmetz. In Vienna he became the assistant of Lucas van Valckenborch I, whom he subsequently followed to Frankfurt, then an important centre for art dealing and publishing. He filled in staffage in van Valckenborch pictures of the seasons and portraits, inserting fruit, table utensils and flowers as still-life set pieces. His faithful reproduction of flowers and fruit drew on watercolours by Derer, still-life painters from the Netherlands living in Frankfurt, and botanical and zoological illustrations by Joris Hoefnagel, Pieter van der Borcht IV and Carolus Clusius (1525-1609) then being published in Frankfurt.  Related Paintings of Georg Flegel :. | Kerzenstilleben | Dessert Still Life 1 | Vorbereitung zur Mahlzeit | Large Food Display | Style life with herring beard man pitcher and Hirschkafer |
Related Artists:
BIONDO, Giovanni del
Italian painter, Florentine school (active 1356-1392 in Florence)
MARIESCHI, Michele
Italian Painter, 1710-1743 Italian painter and engraver. His first biographers, Orlandi and Guarienti (1753), stated that Marieschi worked in Germany early in his career and then returned to Venice, where he established himself as a painter of 'beautiful views of the Grand Canal, and of churches and palaces'. Yet there is no other evidence for this journey and Marieschi's early training remains problematic. It seems likely that he began his career as a stage designer: his first recorded activity, in 1731, was the preparation, on behalf of the impresario Francesco Tasso ( fl 1725-c. 1740), of the setting for the Venetian celebration of Carnival Thursday in the Piazzetta. He then, influenced by Marco Ricci and Luca Carlevaris, began to paint capriccios and vedute. His early capriccios, such as the pair Capriccio with Classical Ruins and Bridge and Capriccio with Roman Arch and Encampment (mid-1730s; Naples, Mus. Civ. Gaetano Filangieri), are indebted to Ricci, although they lack his solemnity and magnificence. Marieschi's blend of medieval and Classical ruins in a serene Venetian landscape is more picturesque and romantic. Marieschi began to paint vedute having been encouraged by Canaletto's great success with the genre; examples such as the S Maria della Salute (1733-5; Paris, Louvre), the Piazzetta dei Leoni and the Grand Canal at Ca' Pesaro (1734-5; both Munich, Alte Pin.) are distinguished from Canaletto's work by their exaggerated perspective, more atmospheric colour and the spirited handling of the small figures. Two capriccios, the Town on a River with Rapids (London, N.G.) and the Town on a River with Shipping (London, N.G.;.), both charmingly picturesque scenes with watermills and crumbling towers, date from the mid-1730s. Marieschi began to etch in the 1730s,
Josefina Holmlund
(1827 -1905 ) - Painter