1864-1901 French painter and printmaker. He is best known for his portrayals of late 19th-century Parisian life, particularly working-class, cabaret, circus, nightclub and brothel scenes. He was admired then as he is today for his unsentimental evocations of personalities and social mores. While he belonged to no theoretical school, he is sometimes classified as Post-Impressionist. His greatest contemporary impact was his series of 30 posters (1891-1901),   Related Paintings of Henri de toulouse-lautrec :. | Alone | Bed | Women in a Brothel | Moulin Rouge | Aristide Bruant in his Cabaret |
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Pieter Jansz Saenredam
1597-1665 Dutch Pieter Jansz Saenredam Gallery Saenredam was the son of the print maker and draughtsman Jan Pietersz Saenredam (1565-1607), who was born in Zaandam or, in those days, Saenredam. In 1612 he moved to Haarlem, where he became a pupil of Frans de Grebber and lived the rest of his life. A contemporary of Rembrandt, he is noted chiefly for his surprisingly modern paintings of churches. Saenredam achieved this modern look by meticulously measuring and making sketches of the churches he wanted to paint. He would make these sketches in pencil, pen, and chalk, then and add in water colors to help give the sketch texture and color. The sketches are very architectural in detail, they convey the interior atmosphere through the clever use of light and graduated shadows. Saenredam often deliberately left people out of his work, thus also focusing more attention on buildings and their architectural forms. Only after having made precise measurements, and precise sketches and drawings of the churches, he would take them to his studio where he started to create his paintings. The Reformation led to a rise in Protestant art, of which Saenredam??s Interior of the St. Martin's Dom in Utrecht is an example. As a Catholic church the Dom had been built with adornments. Then, in the epoch of the Eighty Years War and with the church getting in Protestant hands, it was ??cleaned?? of Catholic influences. The altarpieces and statuary were removed, and the walls and ceiling were white washed. The painting shows the church not long after its make-over. The sparse interior with illuminated corridors reflect Protestant ideals, new for Saenredam's time. Alternatively, the paintings of church interiors by Saenredam and other 17th century Dutch painters have been interpreted as having less to do with religion and more with the new-found interest in perspective and with the Dutch interpretation (known as Dutch Classicism) of Palladio??s theories of proportion, balance and symmetry. In any case, Saenredam wanted to memorialize his country during this time of change by documenting many of the country??s buildings. Many artists before him had specialized in imaginary and fanciful architecture, but Saenredam was the first to focus on existing buildings. According to the J. Paul Getty Trust ??Saenredam??s church paintings??owe their poetry to his remarkable blend of fact and fiction. He began by making site drawings of buildings that record measurements and detail with archaeological thoroughness.?? This meticulous preparation helped him to create such accurate and enchanting paintings. The measurements aided him in using scientific linear perspective, just like Andrea Pozzo. He was able to use his measurements to create a realistic image with depth. The Utrecht Archives houses a large number of Saenredam's drawings. In the season 2000-2001 the Centraal Museum at Utrecht held a major exhibition of his drawings and paintings. Perhaps his best known works are a pair of oil paintings both titled Interior of the Buurkerk, Utrecht. One hangs in London's National Gallery, the other in the Kimbell Art Museum in Fort Worth, Texas. In their simplicity and semi-abstract formalism, they foreshadow more modern works such as those of Mondrian and Feininger.
Jose Antolinez
Spanish Baroque Era Painter, 1635-1675 was a Spanish painter of the Baroque period. Antolinez's early training as a landscape artist may have been under Iriarte. Later, when he moved to the court in Madrid, he entered the studio of Francisco Rizi. His '"haughty character and sarcastic personality gained him many enemies among his contemporaries". Some note he played maddening jokes on his colleagues Claudio Coello and Cabezalero as well as Itizi, whom he called painter of wall ornaments, in allusion to the latter's decoration of the hall of comedies in the Palace of Buen Retiro
Martin Schongauer
1430-1491 German Martin Schongauer Galleries His father was a goldsmith named Casper, a native of Augsburg, who had settled at Colmar, where the chief part of Martin's life was spent. He may well have been trained by Master E. S.; A. Hyatt Mayor saw both their styles in different parts of one engraving, and all the works with Schongauer's M†S monogram show a fully developed style. Schongauer established at Colmar a very important school of engraving, out of which grew the "Little Masters" of the succeeding generation, and a large group of Nuremberg artists. As a painter, Schongauer was a follower of the Flemish Rogier van der Weyden, and his rare existing pictures closely resemble, both in splendour of color and exquisite minuteness of execution, the best works of contemporary art in Flanders. Porträt einer jungen Frau, by Martin Schongauer, c. 1478, located in Sammlung Heinz Kisters, Kreuzlingen (Schweiz) in GermanyAmong the very few paintings which can with certainty be attributed to him, the chief is a magnificent altar-piece in the church of Saint Martin at Colmar. The Mus??e d´Unterlinden in Colmar possesses eleven panels by him, and a small panel of David with Goliath's Head in the Munich Gallery is attributed to him. The miniature painting of the Death of the Virgin in the National Gallery, London is probably the work of some pupil. In 1488 Schongauer died at Colmar, according to the register of Saint Martin Church. Other authorities state that his death occurred in 1491. The main work of Schongauer's life was the production of a large number of beautiful engravings, which were largely sold, not only in Germany, but also in Italy and even in England and Spain. Vasari says that Michelangelo copied one of his engravings, the Trial of Saint Anthony. His style shows no trace of Italian influence, but a very clear and organised Gothic. His subjects are mainly religious, but include comic scenes of ordinary life such as the Peasant family going to market or the Two apprentices fighting. one hundred and sixteen engravings are generally recognised as by his hand, and since several are only known from a single impression, there were probably others that are now lost. Many of his pupils' plates as well as his own are signed, M†S, as are many copies probably by artists with no connection to him. Crucifixion by Schongauer.Among the most renowned of Schongauer's engravings are the series of the Passion and the Death and Coronation of the Virgin, and the series of the Wise and Foolish Virgins. All are remarkable for their miniature-like treatment, their brilliant touch, and their chromatic force. Some, such as the Death of the Virgin and the Adoration of the Magi are richly-filled compositions of many figures, treated with much largeness of style in spite of their minute scale. He established the system of depicting volume by means of cross-hatching (lines in two directions) which was further developed by D??rer, and was the first engraver to curve parallel lines, probably by rotating the plate against a steady burin. He also developed a burin technique producing deeper lines on the plate, which meant that more impressions could be taken before the plate became worn. The British Museum and other major print rooms possess fine collections of Schongauer's prints.