Matthias Grunewald
German
1475-1528
Matthias Grunewald Galleries
Only religious works are included in his small surviving corpus, the most famous being the Isenheim Altarpiece, completed 1515, now in the Musee d'Unterlinden, Colmar. Its nine images on twelve panels contain scenes of the Annunciation, Mary bathing Christ, Crucifixion, Entombment of Christ, Resurrection, Temptation of St. Anthony and saints. As was common in the preceding century, there are different views, depending on the arrangement of the wings; but the three views available here are exceptional. The third view discloses a carved and gilded wood altarpiece in the centre. As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by area, being 2.65 metres high and over 5 metres wide at its fullest extent.
His other works are in Germany, except for a small Crucifixion in Washington and another in Basel, Switzerland. He was asked in about 1510 to paint four saints in grisaille for the outside of the wings of Durer's Heller Altarpiece in Frankfurt. D??rer's work was destroyed by fire and only survives in copies, but fortunately the wings have survived. There are also the late Tauberbischofsheim altarpiece in Karlsruhe, and the Establishment of the Santa Maria Maggiore in Rome (1517-1519), Freiburg, Augustinermuseum. A large panel of Saint Erasmus and Saint Maurice in Munich probably dates from 1521-24, and was apparently part of a larger altarpiece project, the rest of which has not survived. Other works are in Munich, Karlsruhe, and Rhineland churches. Altogether four somber and awe-filled Crucifixions survive. The visionary character of his work, with its expressive colour and line, is in stark contrast to Albrecht Durer's works. His paintings are known for their dramatic forms, vivid colors, and depiction of light. Related Paintings of Matthias Grunewald :. | Erasmus durch Hl | Lamentation of Christ before 1523 | St Antony the Hermit | The Isenheimer Altarpiece | The Mocking of Christ | Related Artists: Jan van NoordtDutch Baroque Era Painter, 1620-1676 Fetti,DomenicoItalian painter , 1589-1623
was an Italian Baroque painter active mainly in Rome, Mantua and Venice. Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604-1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, later Duke Ferdinando I Gonzaga. In the Ducal Palace, he painted the Miracle of the Loaves and Fishes. The series of representations of New Testament parables he carried out for his patron's studiolo gave rise to a popular specialty, and he and his studio often repeated his compositions. In August or September 1622, his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles (epitomized by Palma the Younger and the successors of Tintoretto and Veronese). Into this mix, in the 1620s-C30s, three "foreigners" Fetti and his younger contemporaries Bernardo Strozzi and Jan Lysebreathed the first influences of Roman Baroque style. Antoine Vestier (1740 - 1824) was a French miniaturist and painter of portraits, born at Avallon in Burgundy, who trained in the atelier of Jean-Baptiste Pierre. He showed his work at the Salon de la Correspondance, Paris, before being admitted to the Academie Royale de Peinture et de Sculpture in 1785, when a portrait of the painter Gabriel-François Doyen, pwas his morceau de reception.
Among his sitters was the royal beniste, Jean-Henri Riesener (1786, Musee de Versailles).
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