b. 1590, Paris, d. 1649, Paris.French painter and draughtsman. Although at the time regarded as one of the leading French painters of the first half of the 17th century, he is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and colour.  Related Paintings of Simon Vouet :. | The Penitent Magdalen | Psyche betrachtet den schlafenden Amor | Apollo und die Musen | Saint Cecilia | Allegory of Peace |
Related Artists:
Jakob Alt
1789-1872 Austrian Jakob Wassermann was born on March 10, 1873, in Furth, the son of a Jewish merchant. After a childhood with many restrictions, he began his career as an office clerk, in Munich and then in Freiburg. In 1898 he moved to Vienna and eventually established himself as a writer. Derivative and imitative, Wassermanns novels showed from the outset a strong dependence upon Fyodor Dostoevsky - particularly in his fondness for the psychological probing of criminals and social outcasts - as well as the influence of the master of the romantic horror and detective story, E. T. A. Hoffmann. Wassermanns first significant work is Die Juden von Zirndorf (1897, The Jews of Zirndorf), in which his deep knowledge of his own community in F??rth and Nuremberg stands him in good stead. As in many of his other works, Wassermanns preoccupation with innocence and redemption is here interleaved with a somewhat crass depiction of depravity and superstition. Der Moloch (1902) pays tribute to the contemporary literary cult of the great city (here Vienna), seen as an all-devouring monster of sin and perversion. Caspar Hauser (1908) is probably the authors best novel; the book, based on fact, deals with the case of the mute youth who appeared one day in 1828 on the streets of Nuremberg. Resemblances to Dostoevskys The Idiot may also be noted in this tale of the rejection and contamination of innate purity by corrupt society. After Caspar Hauser Wassermanns novels and short stories become increasingly preoccupied with bizarre and perverse anecdotes and intrigue, often initially drawn from biography or the newspapers. Das Gansemannchen (1915; The Goose Man) illuminates the problem involved in simultaneous cohabitation with two wives. Christian Wahnschaffe (1919) exploits the theme of the rich mans son who rejects the world to turn toward Buddhism. Der Fall Maurizius (1928, The Mauritius Case) is a type of detective novel made colorful by excursions into hypnosis but also weighed down by a tedious mass of psychological dissection. Like Honor?? de Balzac, whom he imitated, Wassermann introduces the same characters into different novels; thus Etzel Andergast (1931) is a sequel to The Mauritius Case, and its hero, Joseph Kerkhoven, reappears in Joseph Kerkhovens dritte Existenz (1934, Joseph Kerkhovens Third Existence). Wassermann is a somewhat uneven and labored writer, and he cannot in any sense be considered a stylist. His novels are often marred by diffuseness and miasmic obscurity. At the same time his extensive output is of considerable historical interest and illuminates rather well the consequences of marriage between the new depth psychology and the popular novel of sensation and crime. He died on Jan. 1, 1934, in Alt-Aussee.
Claes Dircksz.van er heck
Alkamaar 1571-after 1649
Jacques Daret
Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.