Flemish painter (b. 1532, Antwerpen, d. 1603, Antwerpen). Flemish painter and draughtsman. Together with the brothers Ambrosius Francken I and Frans Francken I, he ranks among the most important painters of altarpieces in Antwerp during the 1590s. Due, in part, to the Counter-Reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. De Vos produced works for, among others, the Old Crossbowmen, the Brabant Coiners, the Antonites, the wine merchants and the Guild of St Luke. The importance of these works would seem to suggest that, after the deaths of Pieter Bruegel I in 1569 and Frans Floris in 1570, de Vos was considered, with some justification, the most important figure painter in Antwerp before Rubens. He was also a prolific draughtsman, especially during the first half of the 1580s, when the Calvinists were in power in Antwerp. During this period he provided numerous designs for print publishers, such as Peeter Baltens, Frans van Beusecom, the widow of Hieronymus Cock, Adriaen Collaert, Phillip Galle, Willem van Haecht, Eduard van Hoeswinkel, Gerard de Jode, Hans van Luyck and Johannes Baptista Vrints. This increased activity is probably indicative of the economic recession and a dwindling market for paintings (especially of religious themes). A total of some 1600 prints were produced after designs by de Vos, an output three times that of Maarten van Heemskerck. De Vos's drawings have been praised (see Mielke) for their lively,   Related Paintings of VOS, Marten de :. | The Tribunal of the Brabant Mint in Antwerp wr | The Family of St Anne | Nativity ery | Portrait of Antonius Anselmus, His Wife and Their Children wr | The Emperor's Toll set |
Related Artists:
Lorenzo Costa
Bologna 1460-Mantua 1535 was an Italian painter of the Renaissance. He was born at Ferrara, but moved to Bologna by the his early twenties, and would be more influential to the Bolognese school of painting. However, many artists worked in both nearby cities, and thus others consider him a product of the School of Ferrara. There are claims that he trained with Cosimo Tura. In 1483 he painted his famous Madonna and Child with the Bentivoglio family, and other frescoes, on the walls of the Bentivoglio chapel in San Giacomo Maggiore, and he followed this with many other works. He was a great friend of Francesco Francia, who was much influenced by him. In 1509 he went to Mantua, where his patron was the Marquis Francesco Gonzaga, and he eventually died there. His Madonna and Child enthroned is in the National Gallery, London, but his chief works are at Bologna. His sons, Ippolito and Girolamo, were also painters, and so was Girolamo's son, Lorenzo the younger (1537-1583).
Elizabeth Armstrong
Canadian-born English Painter, 1859-1912
willi baumeister
Willi Baumeister (January 22, 1889 ?C August 31, 1955) was a German painter, scenic designer, art professor, and typographer. Willi Baumeister, born in Stuttgart in 1889, completed an apprenticeship as a decorative painter in his native city from 1905 to 1907, followed by military service (fall 1907?C1908). Even during his apprenticeship, Baumeister had already commenced his art studies at the Stuttgart Art Academy (Königlich Werttembergische Akademie) (1905?C1906), attended Robert Poetzelbergers drawing class, and took additional lessons from Josef Kerschensteiner. In 1906 he resumed his apprenticeship and, in 1907, completed the trade test. Following his military service, Baumeister continued his studies at the art academy. Dismissed by his teacher Poetzelberger due to lack of talent, he switched into the composition class of Adolf Holzel, with whom he studied until 1912, where he met his life-long friend, Oskar Schlemmer. Baumeister took his first trip to Paris in 1911, successfully participated in a gallery exhibition in Zurich in 1912 and a year later participated in Der Erste Deutsche Herbstsalon (The First German Autumn Salon) in the Berlin gallery Der Sturm. There he met the expressionist painter Franz Marc. In 1914 Baumeister had his first solo exhibition at Der Neue Kunstsalon (New Art Salon) in Stuttgart. In the same year, Adolf Hölzel arranged a commission for wall paintings at the Deutsche Werkbund-Ausstellung (German Werkbund Exhibition) in Cologne for Baumeister, Schlemmer, and Herman Stenner. Prior to being drafted into the army in the summer of 1914 (until 1918), Baumeister travelled to Amsterdam, London, and Paris. Even during the war, Baumeister met the painter Oskar Kokoschka and the architect Adolf Loos in Vienna in 1915. In 1916 he participated in the exhibition Hölzel und sein Kreis (Hölzel and his Circle) at the Art Association in Freiburg im Breisgau, which was subsequently shown at the Ludwig Schames Art Salon in Frankfurt am Main. In 1918, still prior to being discharged from military service, he threw an exhibition with his friend Oskar Schlemmer at the Galerie Schaller in Stuttgart. Baumeister and Schlemmer campaigned to bring Paul Klee to the Stuttgart Academy, which was rejected by the Academy. Klee, in his part, however, would have been willing to come. In 1919 Baumeister became a member of the Berlin artist association Novembergruppe (November Group). The group was founded by Max Pechstein in 1918, immediately following Germanys capitulation and the fall of the monarchy. It remained one the most important alliances of German artists until 1933. In Stuttgart in 1919, Baumeister took up the initiative with Schlemmer and other artists to found the artist group Üecht (Alemannic: genuine, true), which he left in 1921. In 1919 he produced his first stage design, which was followed by seventeen others. In 1920 Baumeister completed his art studies, worked as an independent artist, and participated in exhibitions in Berlin, Dresden, and Hagen. His popularity and recognition abroad became evident in a joint exhibition with Fernand Leger in the Berlin gallery Der Sturm in 1922. During these years, Baumeister developed professional relationships with artists such as Paul Klee, Leger, Le Corbusier, Amedee Ozenfant, and Michel Seuphor. In 1924 several of his works were shown at the Erste Allgemeine Deutsche Kunstausstellung (First General German Art Exhibition) in Moscow and, in 1925, he participated in the Paris exhibition L'Art deaujourdehui (Art Today). Alongside his artistic work, he was also active in the area of commercial art and designed advertisements for numerous companies, such as Bosch and DLW (Deutsche Linoleumwerke)