Dutch, born circa 1635-1684,was a Dutch painter of the Baroque era. He was the son an art dealer also named Jan Wijnants. After his mother's death, his father remarried Maria Jans van Stralen, widow of Jasper Jaspersz van Heemskerck, and mother of the painter Egbert Jaspersz van Heemskerck, making Wijnant and Van Heemskerck stepbrothers. Wijnants was active in Haarlem until 1660, after which he moved to Amsterdam. Wijnants is primarily known for his landscapes and paintings featuring topography. Adriaen van de Velde trained in his studio and his style later had influence on the English artist, Thomas Gainsborough.  Related Paintings of Jan Wijnants :. | Landschap met reizigers op een weg langs een watertje | Landscape with two hunters | Landscape with a hunter and other figures. | Landscape with donkey rider. | Castle in a forest |
Related Artists:
w. holmberg

Edward Burne Jones
Sir Edward Coley Burne-Jones, 1st Baronet (28 August 1833 - 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner, and Company. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in England; his stained glass works include the windows of St. Philip's Cathedral, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Martin's Church in Brampton, St Michael's Church in Brighton, Cumbria, the church designed by Philip Webb, All Saints, Jesus Lane, Cambridge and in Christ Church, Oxford. Burne-Jones's early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. In addition to painting and stained glass, Burne-Jones worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries, mosaics and book illustration, most famously designing woodcuts for the Kelmscott Press's Chaucer in 1896. Edward Coley Burne Jones (the hyphen came later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humorless and unintellectual local girl. He attended Birmingham's King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford. At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham known as the Birmingham Set, speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory's Le Morte d'Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas.[
Correggio
Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.