c.1525-69 Greatest Netherlandish painter of the 16th century. Not much is known of his early life, but in 1551 he set off for Italy, where he produced his earliest signed painting, Landscape with Christ and the Apostles at the Sea of Tiberias (c. 1553). Returning to Flanders in 1555, he achieved some fame with a series of satirical, moralizing prints in the style of Hiëronymus Bosch, commissioned by an Antwerp engraver. He is best known for his paintings of Netherlandish proverbs, seasonal landscapes, and realistic views of peasant life and folklore, but he also took a novel approach to religious subject matter, portraying biblical events in panoramic scenes, often viewed from above. He had many important patrons; most of his paintings were commissioned by collectors. In addition to many drawings and engravings, about 40 authenticated paintings from his enormous output have survived.  Related Paintings of Pieter Bruegel :. | detalj fra den dystra dagen,februari | The killing of innocent | Dance under the gallows | The Sermon of St John the Baptist | Men yawn |
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Johan Vilhelm Gertner
(10 March 1818 - 28 March 1871) was a Danish painter, best known for his portraiture. One of the last students of Christoffer Wilhelm Eckersberg, who was known as the father of the Golden Age of Danish Painting, Gertner belonged to the tail end of the Golden Age, a period during which Danish art moved towards a more realistic style, relying on inspiration both from French Realism and emerging photographic techniques. Gertner was born on 10 March 1818 to a craftsman at the Holmen naval base. He attended the Royal Danish Academy of Fine Arts from 1831 to 1837 where he was one of Christoffer Wilhelm Eckersberg, known as the farther of Goldn Age of Danish Painting. Eckersberg taught him a naturalistic approach to painting, but Gertner went much further with inspiration from French art and the emerging techniques of photography. His virtuosity in producing almost photographically precise portraits impressed many; in particular, his ability to reproduce textures and materials e crisp silk dresses, lustrous medals and jewellery, dark mahogany furniture, silky wallpapers, and soft carpets e won him much acclaim. Others, such as the influential art historian and critic Niels Lauritz Høyen, who opposed any foreign influence on Danish painting, disapproved of his style, preferring more sincere and sensitive portrayals. He was a professor at the Academy from 1858.
Carl Philipp Fohr
German, 1795-1818,German painter and draughtsman. His first drawing lessons, from the age of 13, were from Friedrich Rottmann (1768-1816), the father of the painter Carl Rottmann. In 1810 the Darmstadt Court Councillor, Georg Wilhelm Issel, discovered Fohr sketching at Stift Neuberg near Heidelberg and, the following year, invited him to Darmstadt and provided encouragement and financial support. From 1813 Fohr carried out commissions for Grand Duchess Wilhelmina of Hesse, for whom he produced a Sketchbook of the Neckar Region, a collection of views and historical subjects (30 watercolours; 1813-14) and also a Baden Sketchbook (30 watercolours, 1814-15; both Darmstadt, Hess. Landesmus.). These far surpassed the usual level attained in this genre in their sharpness of detail, delicacy of colour and pictorial inventiveness. The Crown Princess granted him an annual pension of 500 guilders. From July 1815 to May 1816, Fohr was a student of landscape painting at the Kunstakademie in Munich.
BROUWER, Adriaen
Flemish Baroque Era Painter, ca.1605-1638 Adriaen Brouwer (1605, Oudenaarde - January 1638, Antwerp) was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century. At a young age Brouwer, probably born as Adriaen de Brauwer, moved perhaps via Antwerp to Haarlem, where he became a student of Frans Hals alongside Adriaen van Ostade. He also was active in stage acting and poetry. He stayed in Haarlem and Amsterdam until 1631, when he moved back to Antwerp in the Spanish Netherlands. There, he became a member of the Guild of St. Luke in 1631 ?C 1632, as well as the rhetoricians's chamber De Violieren. Tradition has it that Brouwer himself spent much time in the alehouses of Flanders and Holland. His works are typically detailed and small, and often adopt themes of debauchery, drunkenness and foolishness in order to explore human emotions, expressions and responses to pain, fear and the senses. The Bitter Tonic (illustrated right) is an example of the type of work that depicts such responses, in this case the sense of taste. His work was well liked, to the point that forgeries were sold in his own time. Both Rubens and Rembrandt owned a number of his works. Nevertheless, Brouwer appeared in financial trouble throughout his life. He died at the early age of 32 in Antwerp, where he was first buried in a common grave, but, upon instigation of the members of the guild, was reburied on Feb 1, 1638 in the church of the Carmelites.