c. 1450 - 9 August 1516), was a Dutch painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives. Hieronymus Bosch was born Hieronymus (or Jeroen, respectively the Latin and Middle Dutch form of the name "Jerome") van Aken (meaning "from Aachen"). He signed a number of his paintings as Bosch (pronounced Boss in Middle Dutch). The name derives from his birthplace, 's-Hertogenbosch, which is commonly called "Den Bosch". Little is known of Bosches life or training. He left behind no letters or diaries, and what has been identified has been taken from brief references to him in the municipal records of 's-Hertogenbosch, and in the account books of the local order of the Brotherhood of Our Lady. Nothing is known of his personality or his thoughts on the meaning of his art. Bosches date of birth has not been determined with certainty. It is estimated at c. 1450 on the basis of a hand drawn portrait (which may be a self-portrait) made shortly before his death in 1516. The drawing shows the artist at an advanced age, probably in his late sixties   Related Paintings of Jheronimus Bosch :. | Spring | Greeting the Sun | Pont de Moret-sur-Loing | Portrait of Tatyana Liubatovich as carmen | View of Delft after |
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Nicolas Maes
1634-1693 Dutch Nicolas Maes Galleries Nicolaes Maes, also known as Nicolaes Maas (January 1634, Dordrecht - buried November 24, 1693, Amsterdam) was a Dutch Baroque painter of genre and portraits. Maes was the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648 he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653 Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of colour, like the Reverie at the Rijksmuseum in Amsterdam, the Card Players at the National Gallery, and the Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt. In his best period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller scale, retaining to a great extent the magic of colour he had learnt from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. While he continued to reside in Dordrecht until 1673, when he settled in Amsterdam, he visited or even lived in Antwerp between 1665 and 1667. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture, and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is the Inquisitive Servant of the Six collection. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover and Munich galleries.
Jose Villegas y Cordero
Spanish, 1848 - 1921
Daniel Schultz the Younger
painted Portrait of Maria Kazimiera with her son Jakub Ludwik in 1674