b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.  Related Paintings of Albrecht Durer :. | Portra eines Unbekannten mit roter Schaube | Selbstmord der Lukretia | A Grayhound | The Mantle of the pope | Lamentation for Christ |
Related Artists:
NATTIER, Jean-Marc
French Rococo Era Painter, 1685-1766 Brother of Jean-Baptiste Nattier. As well as being taught by his father, he trained with his godfather, Jean Jouvenet, and attended the drawing classes of the Acad?mie Royale, where in 1700 he won the Premier Prix de Dessin. From around 1703 he worked on La Galerie du Palais du Luxembourg. The experience of copying the work of Rubens does not, however, seem to have had a liberating effect on his draughtsmanship, which was described by the 18th-century collector Pierre-Jean Mariette as 'cold'. Nattier was commissioned to make further drawings for engravers in the early part of his career, including those after Hyacinthe Rigaud's famous state portrait of Louis XIV (1701; Paris, Louvre) in 1710, which indicates that he had established a reputation while he was still quite young. Although he was offered a place at the Acad?mie de France in Rome on the recommendation of Jouvenet, Nattier preferred to remain in Paris and further his career. In 1717 he nevertheless made a trip to Holland, where he painted portraits of Peter the Great and the Empress Catherine (St Petersburg, Hermitage).
Jean-Pierre Franque
French, 1774-1860,French painter. He and his twin brother, Joseph-Boniface Franque (1774-1833), who was also a painter, were the sons of a modest farmer and, according to a local story, their youthful talent was such that the provincial government paid for them to study in Grenoble. They enrolled at the Ecole Gratuite in Grenoble and stayed for about two years (1786-8), training to become engravers. During the revolutionary period, the twins' education was taken over by the Departement de la Dreme. In 1792 their case was discussed at the National Assembly in Paris, which placed them in David's atelier and provided a pension for four years. David agreed to educate them but refused payment, writing to the President of the Assembly, 'I am overjoyed to be chosen to be the first teacher of these youths who could be called children of the nation since they owe everything to her.' The two brothers were considered very promising students, and David asked Jean-Pierre to assist him in the execution of the Intervention of the Sabine Women (1796-9; Paris, Louvre). Jean-Pierre also became involved with LES PRIMITIFS and the mysterious Maurice Quae (1779-1804), who reacted against Davidian principles and advocated a return to 'primitive' 15th-century Italian art. Franque demonstrated his independence from David in the selection of the subject for his 1806 Salon debut, the Dream of Love Induced by the Power of Harmony (destr.). In the spring of 1807 he was one of the 26 painters who entered a sketch (untraced) for the competition for a large painting representing Napoleon on the battlefield of Eylau, a competition won by Gros. In 1810 Franque produced Allegory of the Condition of France before the Return from Egypt (Paris, Louvre).
Elisabeth Warling
painted Strandvagen-Stockholm in 1874