Flemish Northern Renaissance Painter, ca.1395-1441 Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d'Heere, Jan trained with his brother Hubert. Pietro Summonte's assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan's works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of 'Master', working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege.   Related Paintings of EYCK, Jan van :. | The Madonna with Canon van der Paele | Mary of the Annunciation | Annunciation | Stigmatization of St Francis df | Portrait of Baudouin de Lannoy nere |
Related Artists:
Stephen Wilson Van Schaick
American, 1848 - 1920
Wynford Dewhurst
British, 1864-1941 Wynford Dewhurst was born in Manchester in 1864. He was educated at home by a private tutor and later at Mintholme College. Although he originally trained to enter the legal profession, he showed artistic flair and decided to pursue a career as a painter after some of his drawings were published in various journals. He gained his artistic training in France at the Ecole des Beaux-Arts, in Paris, where he was a pupil of the renowned French painter Jean-L??on Gerome. Despite his teacher Gerome rejection of the radical Impressionist movement in favour of a highly finished academic style (Gerome continued the development and conservation of French Neoclassicism), Dewhurst was heavily influenced by the Impressionists. It is well known that he first encountered Impressionism, to which he was instantly attracted, in the work of Emile Claus in the Maddocks Collection in Bradford. However his most important mentor would become Claude Monet. It was Monet to whom Dewhurst dedicated his pioneering account of French Impressionism, Impressionist Painting: its genesis and development, in 1904. This was the first important study of the French painters to be published in English. As well as helping to reintroduce British artists to this style of painting, Dewhurst book called attention to the French Impressionists debt to the British artists John Constable and J. M. W. Turner, claiming that the Impressionists simply developed their existing painterly techniques. According to Dewhurst, artists who, like himself, painted in an impressionist manner, were often sneered at for imitating a foreign style, and he was keen to justify their position. French artists simply developed a style which was British in its conception, he wrote, a view that was dismissed by some French painters - such as Pissarro - who revealed his national bias when he acknowledged Constable and Turner but identified instead French influences like Nicolas Poussin, Claude Lorrain, Jean-Baptiste-Sim??on Chardin and Jean-Baptiste-Camille Corot. The thesis that Dewhurst put forward in Impressionist Painting was controversial for it dealt with the debated question of whether Impressionism was French or British in origin. However, it found much support in Britain: Kevin McConkey informs us that Dewhurst theme was taken up by others as various as Clausen, John Rothenstein and Kenneth Clark Nevertheless, Dewhurst detailed biographical notices of the most prominent artists associated with the rise of impressionism in France...leave little to be desired from the historical point of view. It is worth noting that Impressionist Painting also included an entire chapter on female artists, since modernity is the note of Impressionism, and that movement was the very first artistic revolt in which women took part. Indeed, Dewhurst thanks the celebrated female painter Mary Cassatt (who worked within the Impressionist circle) for her assistance in the preface of his book.
Thomas Frye
The Anglo-Irish painter Thomas Frye (c. 1710 - 3 April 1762 best known for his portraits in oil and pastel, including some miniatures and his early mezzotint engravings, was also the patentee of the Bow porcelain factory, London, and claimed in his epitaph to be "the inventor and first manufacturer of porcelain in England," though his rivals at the Chelsea porcelain factory seem to have preceded him in bringing wares to market. The Bow porcelain works did not long survive Frye's death; their final auctions took place in May 1764. Thomas Frye was born at Edenderry, County Offaly, Ireland, in 1710; in his youth he went to London to practice as an artist. His earliest work are a pair of pastel portraits of boys, one dated 1734 (Earl of Iveagh). For the Worshipful Company of Saddlers he painted a full-length portrait of Frederick, Prince of Wales (1736, destroyed 1940), which he engraved in mezzotint and published in 1741. With his silent partner, a London merchant Edward Heylyn, he took out a patent on kaolin to be imported from the English colony of Virginia in November 1745, and became manager of the Bow factory from its obscure beginnings in the 1740s. He retired to Wales in 1759 for the sake of his lungs, but soon returned to London and resumed his occupation as an engraver, publishing the series of life-size fancy portraits in mezzotint, by which he is most remembered. He died of consumption on 2 April 1762. Frye had five children; his two daughters assisted him in painting porcelain at Bow until their marriages. One of them, who married a Mr. Willcox, was employed by Josiah Wedgwood at the Wedgwood Etruria works in painting figure-subjects from 1759 to 1776, the year of her death.