German 1485-1545 Hans Baldung Grien Galleries The earliest pictures assigned to him by some are altar-pieces with the monogram H. B. interlaced, and the date of 1496, in the monastery chapel of Lichtenthal near Baden-Baden. Another early work is a portrait of the emperor Maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at Karlsruhe. "The Martyrdom of St Sebastian and the Epiphany" (Berlin Museum), fruits of his labour in 1507, were painted for the market-church of Halle in Saxony. Baldung's prints, though D??reresque, are very individual in style, and often in subject. They show little direct Italian influence. His paintings are less important than his prints. He worked mainly in woodcut, although he made six engravings, one very fine. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510.[1] Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (ie prints not for book illustration) are fewer than 100, though no two catalogues agree as to the exact number. He was extremely interested in witches and made many images of them in different media, including several very beautiful drawings finished with bodycolour, which are more erotic than his treatments in other techniques. Witch and Dragon. Drawing with bodycolour (b/w repro)Without absolute correctness as a draughtsman, his conception of human form is often very unpleasant, whilst a questionable taste is shown in ornament equally profuse and baroque. Nothing is more remarkable in his pictures than the pug-like shape of the faces, unless we except the coarseness of the extremities. No trace is apparent of any feeling for atmosphere or light and shade. Though Gr??n has been commonly called the Correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red and glowing green. Flesh is a mere glaze under which the features are indicated by lines. (1911) His works are mainly interesting because of the wild and fantastic strength which some of them display. His Eve, the Serpent and Death (National Museum of Canada) shows his strengths well. We may pass lightly over the "Epiphany" of 1507, the "Crucifixion" of 1512, or the "Stoning of Stephen" of 1522, in the Berlin Museum. There is some force in the "Dance of Death" of 1517, in the museum of Basel, or the Madonna of 1530, in the Liechtenstein Gallery at Vienna. Gr??n's best effort is the altarpiece of Freiburg, where the Coronation of the Virgin, and the Twelve Apostles, the Annunciation, Visitation, Nativity and Flight into Egypt, and the Crucifixion, with portraits of donors, are executed with some of that fanciful power which Martin Schongauer bequeathed to the Swabian school. As a portrait painter he is well known. He drew the likeness of Charles V, as well as that of Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden, as early as 1514. At a later period he had sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Karlsruhe. Like D??rer and Cranach, Gr??n became a hearty supporter of the Reformation. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther under the protection of the Holy Ghost, which hovers over him in the shape of a dove.  Related Paintings of Hans Baldung Grien :. | Nativity | The Trinity and Mystic Pieta | Virgin and Child with Parrots | The Knight | Nativity |
Related Artists:
Christen Kobke
1810-1848 Danish Christen Kobke Galleries He lived in Kastellet until 1833 and made many paintings of the area. His painting "Gården ved bageriet i Kastellet" (ca. 1832) hangs in the Ny Carlsberg Glyptotek museum in Copenhagen. In 1832 he shared a studio with friend, landscape painter Frederik Hansen Sødring. He painted a portrait of Sødring which now hangs in the Hirschsprung Collection. In 1834 he moved, along with his parents, outside of Copenhagen??s fortifications near Sortedamssøen, a lake area. He painted many views overlooking the lake towards the city and the embankments surrounding the city. His work becomes larger, more monumental. Like many of his contemporary artists he came under the influence of Niels Lauritz Høyen, art historian, who promoted a nationalistic art. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist??s training). On a visit to Hillerod in 1835 he painted a romantic picture of Frederiksborg Palace, "Frederiksborg Slot ved Aftenbelysning" ("Frederiksborg Palace in the Evening Light"). At the end of 1837 he married Susanna Cecilie Kobke (1810-1849), and shortly afterwards painted a portrait of his young bride. One of the Small Towers on Frederiksborg Castle, c.1834-35.In 1838 he received a travel stipend from the Academy, left his new wife and traveled over Dresden and Munich to Italy accompanied by decorative painter Georg Hilker. They arrived in Rome by year??s end where he met brother-in-law Frederik Christopher Krohn, sculptor and medallionist, and many other Danish artists. He traveled, along with Constantin Hansen the following summer to Naples, Sorrento, Pompeii and Capri where he painted out in the open air. He returned home in 1840 with a large collection of sketches for later use and inspiration. Unfortunately, most his later work with these Italian themes was uninspired, and they found little favor. Kobke even considered at the time becoming a decoration painter, having participated in 1844-1845 in the decoration of the Thorvaldsens Museum, a museum dedicated to the artistic works of Bertel Thorvaldsen. Two years after his father died in 1843 the family sold the property outside Copenhagen, and Kobke moved back into the city. His application for admission to the Academy, which was accompanied by one of his failed Italian landscapes, was rejected in 1846. He died in 1848 of pneumonia, and is buried in Assistens Kirkegard. Kobke, a national romantic, painted portraits, landscapes and architectural paintings. Most of Kobke??s portraits show friends, family members and fellow artists. He found most of his motifs in his immediate surroundings. Now he is recognized internationally for his well composed and harmonic paintings, for their coloristic qualities and for his sense of the everyday life. But in his lifetime he was almost forgotten, especially because of his early death and limited production. Despite his talent and the praise of various contemporaries, Kobke had never been inundated with commissions. Kobke is recognized today as one of the most talented among Denmark??s Golden Age painters and the most internationally renowned Danish painter of his generation. The painterly interpretations he made of his surroundings stand as highpoints of the period. His works are in the collections of not only Danish museums but also such international museums as the J. Paul Getty Museum
Giovanni Battista Spinelli
( fl from c. 1630; dc. 1660). Italian painter and draughtsman
Esaias Van de Velde
1591-1630 Dutch Esaias Van de Velde Gallery Painter, draughtsman and etcher. He probably received his earliest training from his father. It is also possible that he studied with the Antwerp painter Gillis van Coninxloo, who moved to Amsterdam in 1595 (ten years after Esaias father). He may also have trained with David Vinckboons, whose work shows similarities with that of Esaias. Esaias became a member of the Haarlem Guild of St Luke in 1612, the same year as Willem Buytewech and the landscape painter Hercules Segers. During this Haarlem period Esaias had two pupils, Jan van Goyen and Pieter de Neijn (1597-1639), but by 1618 he had moved with his family to The Hague, where he joined the Guild of St Luke in October of that year.