1606-1669 Dutch painter, draughtsman and etcher. From 1632 onwards he signed his works with only the forename Rembrandt; in documents, however, he continued to sign Rembrandt van Rijn (occasionally van Rhyn), initially with the addition of the patronymic 'Harmensz.'. This was no doubt in imitation of the great Italians such as Leonardo, Michelangelo, Raphael and Titian, on whom he modelled himself, sometimes literally. He certainly equalled them in fame, and not only in his own country. His name still symbolizes a whole period of art history rightfully known as 'Holland's Golden Age'. In 1970-71 a great exhibition in Paris was devoted to it under the eloquent title Le Si?cle de Rembrandt. A century before, a popular work of cultural history by C. Busken Huet referred to the Netherlands as 'the land of Rembrandt'. His fame is partly due to his multi-faceted talent. Frans Hals was perhaps at times a greater virtuoso with the brush but remained 'only' a portrait painter. Vermeer may have excelled Rembrandt in the art of illusion but was less prolific. Rembrandt was not only a gifted painter but also an inspired graphic artist: he has probably never been surpassed as an etcher, and he often seems inimitable as a draughtsman. His subjects reflect his manifold talent and interests. He painted, drew and etched portraits, landscapes, figures and animals, but, above all, scenes of biblical and secular history and mythology.   Related Paintings of Rembrandt van rijn :. | Details of The Polish rider | The Sacrifice of Isaac | portratt av titus | The Blinding of Samson | Details of The polish rider |
Related Artists:
Richard ansdell,R.A.
1815-1885 English painter. He was the son of an artisan and in 1835 entered the Liverpool Academy Schools, where he later became president (1845-6). One of his earliest and largest dated works is the Waterloo Coursing Meeting (1.4*2.4 m, 1840; Liverpool, Walker A.G.). This canvas demonstrates his considerable skill as a portrait painter and creates a detailed record of a major sporting event of the period which was attended by many members of the local aristocracy, some of whom, notably the 3rd Earl of Sefton, were his patrons. It was engraved and published in 1843, and other works were similarly popularized. Shooting Party in the Highlands (1840; Liverpool, Walker A.G.) was the first of 149 works exhibited at the Royal Academy. It shows huntsmen with their horses and dogs resting after a good day's sport, a theme that Ansdell often depicted. He also portrayed other rural scenes such as gamekeepers or shepherds with domestic and wild animals, often in historical settings. All are painted with precision and sensitivity and without sentimentality. Although based in London from 1847 until 1884, Ansdell owned houses in Lancashire and Scotland and found inspiration in northern landscape. He travelled to Spain with the painter John Phillip in 1856 and alone in 1857 and produced several works of Spanish inspiration, for example Feeding Goats in the Alhambra (Preston, Harris Mus. & A.G.). He also collaborated with William Powell Frith and Thomas Creswick in rural genre scenes. Ansdell was commercially successful and was elected ARA in 1861 and RA in 1870.
Master of the View of Sainte Gudule
Netherlandish Northern Renaissance Painter, active ca.1485
paulus potter
Paulus Potter (baptised on November 20, 1625 in Enkhuizen ?C buried on January 17, 1654 in Amsterdam) was a Dutch painter, specialized in animals in landscapes, usually with a low point of view. Before Potter died of tuberculosis, 28-years old, he succeeded in producing about a hundred paintings, working continuously. Few details are known of Potter's life. In 1628 his family moved to Leiden, and in 1631 to Amsterdam, where young Paulus studied painting with his father, Pieter Symonsz Potter. After his mother died, his father started an affair with the wife of Pieter Codde, also living in the fancy Sint Antoniesbreestraat. For some time his father was a manufacturer of gilded leather hangings outside the city walls. Potter became a member of the Guild of Saint Luke in Delft, but by 1649, Paulus moved to The Hague, next to Jan van Goyen. Potter married in the Hague and his father-in-law, who was the leading building contractor in the Hague, introduced him to the Dutch elite. Amalia of Solms-Braunfels, a member of the stadholder's family and an art-lover, bought a painting with a pissing cow, but some court ladies seemed to have advised against it. By May 1652, after a case about delivering a new painting, he returned to Amsterdam. Potter was invited by Nicolaes Tulp, who was impressed by his civilized behavior and politeness. Potter painted his son Dirck Tulp, but only changed the face on an earlier work he was not able to sell. Paulus painted a self portrait which was at Hackwood Park, Hampshire until 1998, it is now at Elibank House, Buckinghamshire.