1620-1691 Dutch Aelbert Cuyp Locations Painter and draughtsman, son of Jacob Cuyp. One of the most important landscape painters of 17th-century Netherlands, he combined a wide range of sources and influences, most notably in the application of lighting effects derived from Italianate painting to typical Dutch subjects. Such traditional themes as townscapes, winter scenes, cattle pieces and equestrian portraits were stylistically transformed and given new grandeur. Aelbert was virtually unknown outside his native town, and his influence in the 17th century was negligible. He became popular in the late 18th century, especially in England.  Related Paintings of Aelbert Cuyp :. | A River Scene with Distant Windmills | Portrait of a young man | Lady and Gentleman on Horseback | Hirt mit funf Kuhen an einem Flub | Sunset near Dordrecht. |
Related Artists:
BLONDEEL, Lanceloot
Flemish Northern Renaissance Painter, 1498-1561 South Netherlandish painter, draughtsman, designer, architect, civil engineer, cartographer and engraver. He is said to have trained as a bricklayer, and the trowel he used to add as his housemark next to his monogram LAB testifies to this and to his pretensions as an architectural designer. In 1519 he was registered as a master painter in the Bruges Guild of St Luke, where he chose as his speciality painting on canvas. The following year he collaborated with the little-known painter Willem Cornu in designing and executing 12 scenes for the Triumphal Entry of Emperor Charles V into Bruges. From then onwards Blondeel received regular commissions, mainly as a designer and organizer. Records of legal actions show that he was sometimes late with commissions; he took seven years to execute a Last Judgement ordered in 1540 for the council chamber at Blankenberge, and in 1545 the Guild of St Luke summoned him for his failure to supply their guild banner on time. Blondeel was married to Kathelyne, sister of the wood-carver Michiel Scerrier; of the two daughters of this marriage, the eldest, Maria, married the tapestry-weaver Andries Hansins before 1542 and the younger, Anna, married Blondeel's pupil, the painter Pieter Pourbus, before 1545.
Leonhard Beck
German Northern Renaissance Painter, ca.1480-1542, Illuminator, painter, draughtsman and woodcutter, son of Georg Beck. He first appears as an illuminator and collaborator with his father in two Psalters for the Augsburg monastery of SS Ulrich and Afra in 1495, producing 35 coloured initial letters for each of them (Augsburg, Staats- & Stadtbib., Cod. 49a). These are vigorously coloured but fairly uniform in character, with small, lively biblical scenes excellently adapted to the letters. Red, green and blue predominate; ochre tones provide a link with the gold ground. The initial letter X is composed of splendidly curled, entwining foliage with birds and half-figures of prophets; the Virgin, Joseph, the Christ Child in the manger and the choir of angels are each enclosed in one of its sectors. The figures are presented in a light, easy manner; the draughtsmanship avoids unnecessary detail.
Jeronymus van Diest
(1631, The Hague - ca.1687, The Hague), was a Dutch Golden Age seascape painter. According to Houbraken, a Jeronymus van Diest was good with grisailles and was the teacher of Adriaen van de Venne.[1] This grisaille painter Jeronymus Diest (I) may possibly have been a grandfather of the younger Jeronymus Diest (II); since they are both from the Hague. According to the RKD this younger Jeronymus Diest (II) was the son of the painter Willem van Diest and the father of the painter Adriaen van Diest who was a follower of Jan van Goyen and Hendrik Dubbels.His known works are all seascapes with various ships at sail.