German , Biberach 1609-Augsburg 1682/83   Related Paintings of Johann Heinrich Schonfeldt :. | Versohnung Jakobs mit Esau | Atalanta and Hippomenes | Sintflut | The Rape of the Sahine Women | Alexander the Great before the Tomb of Achilles |
Related Artists:
POORTER, Willem de
Dutch Baroque Era Painter, 1608-ca.1648 Dutch painter. His father, Pieter, came from Flanders to Haarlem, where in 1631 works by Willem were recorded for the first time. In 1634 Willem was registered in Haarlem as a master painter, and in 1635 Pieter Casteleijn was named as his pupil. As late as 1643 Pieter Abrams Poorter and Claes Coenraets began their studies with him in Haarlem. Willem is mentioned for the last time in the archives of the Haarlem Guild of St Luke in 1645, the year he left for Wijk bij Heusden. He supposedly studied under Rembrandt, together with his fellow townsman Jacob de Wet. There is no documentation to support this assumption, but a number of de Poorter's small-scale biblical and history paintings bear such a striking likeness to Rembrandt's biblical compositions of c. 1630 that the two hands are often confused. Rembrandt's Presentation in the Temple (1631; The Hague, Mauritshuis; see REMBRANDT VAN RIJN) was copied (Dresden, Gemeldegal. Alte Meister) by de Poorter, who also painted his own version (Kassel, Schloss Wilhelmsh?he). The lighting in de Poorter's Entombment (Guernsey, D. Cevat priv..) was also apparently inspired by Rembrandt's example. Since de Poorter's paintings were first reported in Haarlem in 1631, the year that Rembrandt moved from Leiden to Amsterdam, it seems likely that de Poorter received his training in the Leiden workshop, where Gerrit Dou had also been working since 1628.
Hans Bol
(1534 - 1593), Flemish artist, received his early training from his two uncles who were also painters. He then was the apprentice to a Mechelen watercolorist and tempera painter at the age of fourteen. Because Boles watercolors became so widely reproduced, he began creating miniatures on parchment. The technique earned him many international clients and a good income. In addition, Bol also produced several oil paintings, illuminated manuscripts, drawings, and engravings. He preferred to create landscapes, mythological, allegorical and biblical scenes, and genre paintings. Bol was a mannerist, which followed the High Renaissance. One of his most famous works of art is Landscape with the Fall of Icarus, made with watercolours on paper. It was inspired by Ovid's Metamorphoses, in which the ancient myth of Icarus is told. The painting is a marvelous example of the art of landscape. Subtle colour transitions, skilful perspective and effective contrasts between foreground and background, and human figures and the forces of nature, lend this miniature painting a cosmic dimension. Bol chose the Icarus theme on several occasions. It was also subject of one of his paintings, which described in detail and highly praised by Karel van Mander in the 17th century. Although Bol was once an important and admired painter, we only know him through his small drawings and watercolours. Most of his paintings appear to have been lost. This miniature is all the more important, because it probably produces the painting referret to by Van Mander, which may have been his masterpiece. Consequently, Bol ought to be viewed not only as a superior miniature painter, but above all as an important artist who played a key role in the development of landscape art.
BEUCKELAER, Joachim
Flemish Northern Renaissance Painter, ca.1534-1574 A native of Antwerp, he studied under his uncle, Pieter Aertsen. Many of his paintings contain scenes of kitchen and markets, with religious allusions in the background. His Four Elements series (as of 2004[update], in the National Gallery, London) exemplifies this theme on a large scale. Water, for example, shows a fish market selling twelve kinds of fish, representing the twelve disciples of Jesus. Through an archway in the background we can see Jesus walking on the Sea of Galilee after his resurrection, making fish appear miraculously in empty nets. Beuckelaer's work was influential on painters in Northern Italy, particularly Vincenzo Campi.