Dutch painter (b. 1566, Utrecht, d. 1638, Utrecht). Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest ('from the imagination') and naer 't leven ('after life'). Wtewael's activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate;  Related Paintings of WTEWAEL, Joachim :. | Nameless and Friendless | Une Ouled Nail (mk32) | The Martyrdom of St Florian | Am Stickrahmen | Menippe (df02) |
Related Artists:
Henri Royer
painted Ex-voto in 1898
August Jernberg
(16 September 1826 - 22 June 1896) was a Swedish artist who emigrated to Germany. In his early years he mainly painted portraits, and historical or biblical pictures. In the 1860s he became a genre and landscape painter. He studied at the Royal Swedish Academy of Arts in Stockholm 1843-1846 and then went to Paris, where he studied under Thomas Couture from 1847 to 1853. In 1854 he settled down in Desseldorf, and remained there until his death, with the exceptions of some shorter trips. Also his son Olof Jernberg (1855 - 1935) was an artist.
Palma Vecchio
1480-1528 Italian Palma Vecchio Gallery His birthdate is calculated on Vasari testimony (1550) that he died aged 48. By March 1510 he was in Venice, where he spent his working life. The stylistic evidence of his earliest works suggests that he was apprenticed to fellow Bergamasque artist Andrea Previtali, who had studied under Giovanni Bellini. A signed Virgin Reading (1508-10; Berlin, Gemeldegal.), which may be Palma Vecchio earliest surviving painting, is strongly reminiscent of his teacher. Previtali returned to Bergamo in 1511, and the main corpus of Palma work can be dated from this time. Palma Vecchio oeuvre reflects the change from an early to a high Renaissance conception of the human figure in secular and religious art. He specialized in certain themes that became established in the repertory of genres of the Venetian school in the generation after him. The principal of these were the wide-format SACRA CONVERSAZIONE