German painter (b. 1497, Augsburg, d. 1543, London). Hans Holbein the Younger, born in Augsburg, was the son of a painter, Hans Holbein the Elder, and received his first artistic training from his father. Hans the Younger may have had early contacts with the Augsburg painter Hans Burgkmair the Elder. In 1515 Hans the Younger and his older brother, Ambrosius, went to Basel, where they were apprenticed to the Swiss painter Hans Herbster. Hans the Younger worked in Lucerne in 1517 and visited northern Italy in 1518-1519. On Sept. 25, 1519, Holbein was enrolled in the painters' guild of Basel, and the following year he set up his own workshop, became a citizen of Basel, and married the widow Elsbeth Schmid, who bore him four children. He painted altarpieces, portraits, and murals and made designs for woodcuts, stained glass, and jewelry. Among his patrons was Erasmus of Rotterdam, who had settled in Basel in 1521. In 1524 Holbein visited France. Holbein gave up his workshop in Basel in 1526 and went to England, armed with a letter of introduction from Erasmus to Sir Thomas More, who received him warmly. Holbein quickly achieved fame and financial success. In 1528 he returned to Basel, where he bought property and received commissions from the city council, Basel publishers, Erasmus, and others. However, with iconoclastic riots instigated by fanatic Protestants, Basel hardly offered the professional security that Holbein desired. In 1532 Holbein returned to England and settled permanently in London, although he left his family in Basel, retained his Basel citizenship, and visited Basel in 1538. He was patronized especially by country gentlemen from Norfolk, German merchants from the Steel Yard in London, and King Henry VIII and his court. Holbein died in London between Oct. 7 and Nov. 29, 1543. With few exceptions, Holbein's work falls naturally into the four periods corresponding to his alternate residences in Basel and London. His earliest extant work is a tabletop with trompe l'oeil motifs (1515) painted for the Swiss standard-bearer Hans Baer. Other notable works of the first Basel period are a diptych of Burgomaster Jakob Meyer zum Hasen and his wife, Dorothea Kannengiesser (1516); a portrait of Bonifacius Amerbach (1519); an unsparingly realistic Dead Christ (1521); a Madonna and Child Enthroned with Two Saints (1522); several portraits of Erasmus, of which the one in Paris (1523 or shortly after), with its accurate observation of the scholar's concentrated attitude and frail person and its beautifully balanced composition, is particularly outstanding; and woodcuts, among which the series of the Dance of Death (ca. 1521-1525, though not published until 1538) represents one of the high points of the artist's graphic oeuvre. Probably about 1520 Holbein painted an altarpiece, the Last Supper, now somewhat cut down, which is based on Leonardo da Vinci's famous painting, and four panels with eight scenes of the Passion of Christ (possibly the shutters of the Last Supper altarpiece), which contain further reminiscences of Italian painting, particularly Andrea Mantegna, the Lombard school, and Raphael, but with lighting effects that are characteristically northern. His two portraits of Magdalena Offenburg, as Laïs of Corinth and Venus with Cupid (1526),   Related Paintings of HOLBEIN, Hans the Younger :. | Portrait of the Artist's Wife | St Barbara | St Ursula | Portrait of a Member of the Wedigh Family sf | Portrait of Erasmus of Rotterdam sf |
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Francisco Domingo Marques
painted Cat in 1842 - 1920
Karl Nordstrom
Swedish Painter, 1855-1923 was a Swedish painter and one of the leading members of Konstnärsförbundet, which he chaired from 1896 until its dissolution in 1920. Born on Gotland, but growing up on Tjörn on the Swedish West Coast, Nordström studied at principskolan, the preparatory school of the Royal Academy of Arts in Stockholm and the private painting school of Edvard Perseus, but was never promoted to the "Antique school" of the Academy but had to continue on his own. Traveling to Paris in 1881, he was influenced by the impressionists. He spent a couple of years in Grez-sur-Loing, the site of an important colony of Scandinavian artists, practising his plein air painting in the strong French sunlight. In 1885, he joined the group of young artists protesting against the policies and leadership of the Academy, and he was ever since 1886 one of the leading members of Konstnärsförbundet, the formalization of the opposition group. He was its chairman from 1896 until its dissolution in 1920. In 1886, he married xylographer and photographer Tekla Lindeström in Paris. Later the same year, he settled on Tjörn, using what he had learnt in France about light and colours to depict the landscape where he had grown up. He spent the summer of 1889 in Visby. Around 1890, he moved from his earlier impressionism towards a more synthetist style. His influences came from Japanese art, which he had encountered in Paris, and from Gauguin, whose paintings he first saw in photographs he had received from Ivan Agueli. One of Nordström's old friends from the time at the Academy and in Perseus' school, Nils Kreuger, had lived in the city of Varberg since 1888. He convinced Nordström to move there in 1892, and they were joined by another of their old friends, Richard Bergh, in 1893.
Jan van de Cappelle
1624-1679 Dutch Jan van de Cappelle Locations Dutch businessman, collector, painter, draughtsman and etcher. Though now considered the outstanding marine painter of 17th-century Holland, he was not a professional artist nor a member of the Amsterdam Guild of St Luke. His father owned a successful dye-works in Amsterdam, in which both Jan and his brother Louis were active. Their father enjoyed a long life and probably managed the firm until close to his death in 1674, when Jan inherited it. This left Jan with plenty of spare time to pursue his hobby, painting. He married Annetje Jansdr. (Anna Grotingh) before 1653. He died a widower, survived by his seven children, who inherited his considerable fortune. His last will shows that in addition to the dye-works and immense cash assets, van de Cappelle owned extensive properties and an art collection that must be rated among the most important of his time.