Related Paintings of unknow artist :. | Swan Princess | Sitzendes kleines Madchen in einem bauerlichem Interieur | Pohled na | Portrait of Maria Theresia | Portrait of Grand Duke Frederick I of Baden. Copy of the Winterhalter painting by R. Grether from 1857 |
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MASSYS, Quentin
Flemish Northern Renaissance Painter, ca.1465-1530 Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study.
Abbott Handerson Thayer
American Painter, 1849-1921 American painter and naturalist. He spent his youth in rural New England, where his earliest paintings were wildlife subjects, reflecting his interest in hunting and fishing. While in his teens Thayer achieved some success doing portraits of family pets, which he continued after a move to New York. He attended classes at the Brooklyn Art School and National Academy of Design, but in 1875 he settled in Paris, studying under Henri Lehmann and Jean-L?on G?r?me at the Ecole des Beaux-Arts. While abroad he produced landscapes in the Barbizon style and genre scenes, but on his return to New York in 1879
John Vanderbank
John Vanderbank (9 September 1694 - 23 December 1739) was an English portrait painter and book illustrator, who enjoyed a high reputation for a short while during the reign of King George I, but who died relatively young due to an intemperate and extravagant lifestyle. Vanderbank was born in London, the eldest son of John Vanderbank Snr. His father was a Huguenot tapestry weaver, born in Paris, but who was forced to flee to Holland before coming to England where he became head of a Soho tapestry weaving factory. Vanderbank studied under Sir Godfrey Kneller at James Thornhill's art academy in Great Queen Street from 1711 until 1720, when he joined with Louis Cheron to found his own academy in St. Martin's Lane. The venture proved a failure, and in 1729 he went to France to avoid his creditors. On his return he entered "the liberties of the Fleet" - mansion houses near Fleet prison, London, in which certain privileged prisoners could serve out their sentences in return for payment. It was noted by George Vertue that "only intemperance prevented Vanderbank from being the greatest portraitist of his generation." He died of Tuberculosis in Holies Street, Cavendish Square, London, on 23 Dec. 1739, aged about 45, and was buried in Marylebone church.