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 :. | Head of the Apostle Philip | Madonna on a Grassy Bench | The Birth of the virgin | Elector Frederick the Wise | Albrecht Durer the Elder |
Related Artists:
Antonio Parreiras
(1860 - 1937) was a Brazilian painter. Although much of his work was made up of historical and nude paintings, he expressed himself best in his landscapes, which combined European influences with those of his native Brazil. In 1883, Parreiras met German painter George Grimm, who taught landscape, flora and wildlife painting, while studying at Brazil's Fine Arts Imperial Academy. Grimm influenced Parreiras to move away from academic traditions of painting in favor of the direct observation of nature, free brushstrokes and luminosity. Parreiras traveled throughout Europe for a number of years, visiting many countries including Germany, Italy, and France, exhibiting his first female nude at the Salon in Paris in 1907. He continued to visit Europe after permanently returning to Brazil in 1914, and in 1929 received a gold medal in the Exposition International in Seville. Parreiras also founded the Plein Air School in Niterei, Brazil, and a museum holding many of his works, the Museum Antônio Parreiras, is also in Niterei.
Lucas de Heere
1534-1584,Painter, tapestry designer, draughtsman and poet. He was probably trained by his parents. The suggestion that he became a member of the Ghent Guild of St Luke before 1540 was derived from an incorrect interpretation of the Guild records for 1574-5. Van Mander recorded that, as a boy, de Heere accompanied his father on his trips to the stone-quarries of the Meuse region, where he made topographical drawings. Lucas was sent to Frans Floris's studio c. 1555 or shortly before to complete his training, and he may have collaborated with his master on tapestry cartoons and stained-glass designs, although no cartoons or preparatory drawings survive. During this period de Heere also became noted as a poet in the local rhetoricians' chambers. His father's influence helped him to gain commissions in Ghent from 1555, and, according to Marcus van Vaernewijck (1568), he worked on new stained-glass windows for the St Janskerk in Ghent in the same year.
Bartholomeus Breenbergh
(before 13 November 1598 - after 3 October 1657) was a Dutch painter born in Deventer. Breenbergh established himself in Amsterdam and then in 1619 went to Rome. There he lived and worked with the Flemish painter Frans van de Kasteele and was heavily influenced by another Fleming, the landscape painter Paul Bril. From 1623, however, he came completely under the spell of Italian landscapes by the somewhat older Cornelis van Poelenburgheindeed, the works of Breenbergh and van Poelenburgh are sometimes very difficult of tell apart. Breenbergh in his turn influenced the French painter Claude Lorrain. Breenbergh was one of the founders of the Bentvueghels, where he was nicknamed "het fret". In 1633 Breenbergh returned to Amsterdam, where he remained until his death, and where he made paintings and etchings of Italian buildings. There he was influenced by the pre-Rembrandtists such as Pieter Lastman and Nicolaes Moeyaert, but he placed their Biblical and mythological scenes in Italian landscapes.