Also called Jan Lys, (c. 1590 or 1597 - 1627 or 1631) was a leading German Baroque painter of the 17th century, active mainly in Venice. Liss was born in Oldenburg (Holstein) in Schleswig-Holstein, Germany. After an initial education in his home state, he continued his studies, according to Houbraken, with Hendrick Goltzius in Haarlem and Amsterdam. Around 1620 he travelled through Paris to Venice. He moved to Rome around 1620?C1622, and his first works there were influenced by the style of Caravaggio. Although his earlier work was concerned with the contrasts of light and shadow, his final move to Venice in the early 1620s modified his style and gave impetus to brilliant color and a spirited treatment of the painted surface.In 1627, he was created an admired large altarpiece, the Inspiration of Saint Jerome in San Nicole da Tolentino. His loose brushstrokes seem precursor to rococo styles of Guardi brothers.This final style, along with that of other "foreign" painters residing in Venice, Domenico Fetti and Bernardo Strozzi, represent the first inroads of Baroque style into the republic. Liss fled to Verona to escape the Plague spreading in Venice, but succumbed there prematurely in 1629. According to Houbraken, he worked day and night on his paintings, so that Joachim von Sandrart felt that his health was at risk and urged him to join him in Rome   Related Paintings of Johann Liss :. | Death of Cleopatra | Gastmahl der Ester Detail | Sturz des Phaeton | Der verlorene Sohn | Morraspiel im Freien |
Related Artists:
Milton William Hopkins
American , b.1789 d.1844
Anna Chamberlain Freeland
1837-1911
kees van dongen
kees van dongen,(1877 to 1968),French painter and printmaker of Dutch birth. He took evening classes in geometric drawing from 1892 to 1897 at the Akademie voor Beeldende Kunsten in Rotterdam. In 1895 he began working intermittently for the newspaper Rotterdamsche Nieuwsblad, for which he made, among other things, a series of bright watercolour drawings of Rotterdams red-light district and illustrations of Queen Wilhelminas coronation. Van Dongen first paintings used dark tones in imitation of Rembrandt, who remained the most important model for his work; his later book on Rembrandt was, in fact, a projection of his own life. By the mid-1890s he was using more vivid contrasts of black and white, for example in Spotted Chimera (1895; priv. col., see Chaumeil, pl. 1), his palette soon becoming brighter and his line more animated. In Le Muet Windmill (1896; priv. col., see Chaumeil, pl. 7), a red ochre monochrome painting, he successfully enlivened the colour by means of broad, energetic brushstrokes.