Netherlandish Northern Renaissance Painter, ca.1435-1494 South Netherlandish painter of German origin. Together with Dieric Bouts I and Hugo van der Goes, he was one of the most important exponents of the new artistic developments that flourished in the southern Netherlands in the 15th century in the wake of Jan van Eyck, the Master of Fl?malle and Rogier van der Weyden. Their principal innovation was to apply optic realism to devotional or mystical subjects. Although Memling lived in the turbulent period of transition from the Burgundian ruling house to that of the Habsburgs, little of this is evident in his work. His commissions were almost exclusively from rich burghers in Bruges (bankers, merchants and politicians) or churchmen and the occasional aristocrat. Often they were foreigners, especially Italians, who had political or financial connections with the town, whose central economic position was to last only a few decades longer. They had Memling paint their portraits, bust or full length, in devotional paintings or on altarpieces for their chapel in Bruges or back home. He seems not to have received official commissions (from the town council or court). An exceptional proportion of this oeuvre has survived. Besides about 20 altarpieces, often in several panels and of considerable size,   Related Paintings of MEMLING, Hans :. | Triptych of Jan Crabbe ey | Wings of a Triptych sh | The Presentation in the Temple ag | Diptych with the Deposition | Tommaso Portinari and his Wife wh |
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Henri Le Sidaner
(August 7, 1862 - July 1939) was an Intimist painter born to a French family in Port Louis, Mauritius. In 1870 he and his family settled in Dunkirk. Le Sidaner received most of his tutelage from the École des Beaux-Arts under the instruction of Alexandre Cabanel but later broke away due to artistic differences. He travelled extensively throughout France and also visited many cities around the globe such as London, New York, Venice and Paris as well as some small villages throughout Europe. Le Sidaner exhibited at the Salon, the Galeries Georges Petit in Paris and the Goupil Gallery in London. He lived in Gerberoy, France. Le Sidaner's work was mentioned in Marcel Proust's novel In Search of Lost Time. In Sodom and Gomorrah, the narrator mentions that an eminent barrister from Paris had devoted his income to collecting the paintings of the "highly distinguished" but "not great" Le Sidaner.
Reinier Nooms
(c. 1623 - c. 1667), also known as Zeeman (Dutch for "sailor"), was a maritime painter known for his highly detailed paintings and etchings of ships. Nooms was born and died in Amsterdam. He started painting and drawing in his later years, following a rough, drunken life as a sailor. It is not known how he acquired his skill as an artist. His knowledge of ships is evident from his work: ships and foreign locations are depicted with high accuracy and in great detail, and served as an example to other artists of how to depict ships. A widely traveled artist, Nooms visited Paris, Venice and possibly Berlin, and also journeyed along the coast of North Africa. A favourite subject of his paintings were the Dutch victories in the Anglo-Dutch Wars. For instance, he painted the Amalia, the flagship of admiral Maarten Tromp, before the Battle of the Downs in 1639. This painting now hangs in the National Maritime Museum in Greenwich, UK. His painting of the Battle of Leghorn in 1653 is in the collection of the Rijksmuseum in Amsterdam. In the 1650s, Nooms made a series of etchings of ships and topographical views characterized by a high degree of detail and precision. These etchings served as an example to many artists. The 19th century French etcher Charles Meryon was highly influenced by Noom, whose etchings of Paris cityscapes inspired Meryon to his own series of Paris etchings. Meryon even dedicated some of this work to Nooms in poetic form.
Prince, Jean-Baptiste le
French Painter, 1734-1781 was an important French etcher and painter. Le Prince first studied painting techniques in his native Metz. He then travelled to Paris around 1750 and became a leading student of the great painter, Francois Boucher (1703-1770). Le Prince's early paintings in both theme and style are comparable to his master's rococo techniques. In 1758 Le Prince journeyed to Russia to work for Catherine the Great at the Imperial Palace, St. Petersburg. He remained in Russia for five years and also travelled extensively throughout Finland, Lithuania and even Siberia. When Le Prince returned to Paris in December, 1763, he brought with him an extensive collection of drawings which he employed as the basis for a number of fine paintings and etchings. J. B. Le Prince was elected a full member of the Academie de peinture et de sculpture in 1765. Le Prince's graphic art of Russia and its peoples is significant in that he based his compositions entirely upon his own designs, lending a much more realistic portrayal to his views than other eighteenth century contemporaries. He is also credited with being the first artist (in 1768) to introduce aquatint into his etched and engraved plates. He may even have been the inventor of aquatint, the tonal graphic art that would later be so skillfully used by such masters as Goya,