Related Paintings of unknow artist :. | The Infantes Don Alfonso el Caro and Doaa Ana Margarita | Horses 023 | Ornamental endpiece from a Qur'an | Our Saviour of the Unsleeping Eye | Lewis and Clark at the Great falls of the missouri |
Related Artists:
Master of Moulins
French 1480-1500 Master of Moulins Gallery Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family. Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perr??al and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.
NEUFCHATEL Nicolas
Flemish-German painter (b. ca. 1527, Hennegau, d. 1590, N??rnberg)
Albert Weisgerber
German, 1878-1915 German painter and printmaker. He studied decoration at the Kreisbaugewerksschule in Kaiserlautern (1891-3) and began work in a decorator studio in Frankfurt am Main. However, in 1894 he moved to Munich to resume his studies, first at the Kunstgewerbeschule and later under Franz von Stuck at the Akademie der Bildenden Kenste (1897-1901). For some years he concentrated on poster design and book illustration, contributing a total of 500 drawings to Jungend: Illustrierte Wochenschrift for Kunst und Leben from 1899. His early paintings such as the portrait of Ludwig Scharf II (c. 1905; Munich, Staatsgal. Mod. Kst) were executed in dark-toned academic style, but an exhibition of French Impressionism in Berlin in 1905 so impressed him that he went to Paris for nearly a year (until May 1906). Despite his association with the circle of artists around Matisse, he was more influenced by the work of Cezanne. In 1907 he made a second visit to Paris and joined Phalanx in 1909. In the latter year he was visited by Hans Purrmann and Matisse. By 1911 with a third visit to Paris and travels to Rome and Naples, he had established himself as one of the foremost German Impressionists. As well as such lyrical scenes as Munich Hofgarten (1911; Munich, Lenbachhaus), in common with many of his German contemporaries, Weisgerber reconceived classical scenes in an energetic style, for example in Amazon Camp (1910; Stuttgart, Staatsgal.). In 1912 he had a one-man show in the Kunsthaus, Zurich, and a year later participated in the annual Kunstausstellung in Munich. Although using an Impressionist style, he was equally at home in Expressionist circles, and this undoubtedly influenced his election to the presidency of the Neuen Menchner Sezession (1913). In the last four years of his career he was obsessed with sacrificial subject-matter from the Old and New Testaments, which he had originated in the theme of St Sebastian (e.g. St Sebastian Felled by Arrows, 1910; Munich, Staatsgal. Mod. Kst). While not exclusively tragic (e.g. David and Goliath, 1914; Saarbrecken, Saarland-Mus.), these final works strip away historical references to concentrate upon the fate of the isolated individual, as in Absalom (1914; Hamburg, Ksthalle).