German painter (b. 1497, Augsburg, d. 1543, London). Hans Holbein the Younger, born in Augsburg, was the son of a painter, Hans Holbein the Elder, and received his first artistic training from his father. Hans the Younger may have had early contacts with the Augsburg painter Hans Burgkmair the Elder. In 1515 Hans the Younger and his older brother, Ambrosius, went to Basel, where they were apprenticed to the Swiss painter Hans Herbster. Hans the Younger worked in Lucerne in 1517 and visited northern Italy in 1518-1519. On Sept. 25, 1519, Holbein was enrolled in the painters' guild of Basel, and the following year he set up his own workshop, became a citizen of Basel, and married the widow Elsbeth Schmid, who bore him four children. He painted altarpieces, portraits, and murals and made designs for woodcuts, stained glass, and jewelry. Among his patrons was Erasmus of Rotterdam, who had settled in Basel in 1521. In 1524 Holbein visited France. Holbein gave up his workshop in Basel in 1526 and went to England, armed with a letter of introduction from Erasmus to Sir Thomas More, who received him warmly. Holbein quickly achieved fame and financial success. In 1528 he returned to Basel, where he bought property and received commissions from the city council, Basel publishers, Erasmus, and others. However, with iconoclastic riots instigated by fanatic Protestants, Basel hardly offered the professional security that Holbein desired. In 1532 Holbein returned to England and settled permanently in London, although he left his family in Basel, retained his Basel citizenship, and visited Basel in 1538. He was patronized especially by country gentlemen from Norfolk, German merchants from the Steel Yard in London, and King Henry VIII and his court. Holbein died in London between Oct. 7 and Nov. 29, 1543. With few exceptions, Holbein's work falls naturally into the four periods corresponding to his alternate residences in Basel and London. His earliest extant work is a tabletop with trompe l'oeil motifs (1515) painted for the Swiss standard-bearer Hans Baer. Other notable works of the first Basel period are a diptych of Burgomaster Jakob Meyer zum Hasen and his wife, Dorothea Kannengiesser (1516); a portrait of Bonifacius Amerbach (1519); an unsparingly realistic Dead Christ (1521); a Madonna and Child Enthroned with Two Saints (1522); several portraits of Erasmus, of which the one in Paris (1523 or shortly after), with its accurate observation of the scholar's concentrated attitude and frail person and its beautifully balanced composition, is particularly outstanding; and woodcuts, among which the series of the Dance of Death (ca. 1521-1525, though not published until 1538) represents one of the high points of the artist's graphic oeuvre. Probably about 1520 Holbein painted an altarpiece, the Last Supper, now somewhat cut down, which is based on Leonardo da Vinci's famous painting, and four panels with eight scenes of the Passion of Christ (possibly the shutters of the Last Supper altarpiece), which contain further reminiscences of Italian painting, particularly Andrea Mantegna, the Lombard school, and Raphael, but with lighting effects that are characteristically northern. His two portraits of Magdalena Offenburg, as Laïs of Corinth and Venus with Cupid (1526),   Related Paintings of HOLBEIN, Hans the Younger :. | Portrait of Margaret Wyatt, Lady Lee | The Passion | The Solothurn Madonna (detail) | Christina of Denmark, Ducchess of Milan sf | The Ambassadors |
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Joseph Denis Odevaere
1778-1830,Flemish painter. He attended evening classes at the Bruges Academie in 1794-5 and then went to Paris, where he entered the studio of the Bruges artist Joseph-Benoet Suvee. In 1801 he began training under Jacques-Louis David and in 1804 won the Prix de Rome for his Death of Phocion (Paris, Ecole N. Sup. B.-A.), in which he faithfully adhered to the principles of David's teaching. Before going to Italy he spent a year in Bruges carrying out portrait commissions, including the Marquis de Chauvelin (1805; Bruges, Groeningemus.). During his time in Rome (1805-12) he copied antique and Renaissance works, taking a particular interest in Raphael, who features in his wash drawing the Master of Urbino Introduced by Bramante to Julius II (1807; Bruges, Groeningemus.), a study for a lost painting. Around 1811 he was among the artists chosen to decorate the Palazzo del Quirinale for Napoleon's visit, although he never executed more than a sketch, Tanaquil Predicting the Future Greatness of Servius Tullius (c. 1811-12; Dijon, Mus. Magnin). Odevaere successfully exhibited in Paris in 1812 and then moved to Ghent, showing works at the Salon there two years later. After the union of the Low Countries in 1815 he became official painter to William I. As a result of this post he executed several works illustrating the history of the Dutch royal family, including the Prince of Orange Wounded at Waterloo (1817) and the Battle of Nieuwpoort (1820; both Brussels, Pal. Nation, on dep. Brussels, Pal. Justice). In 1815 he was commissioned to recover works of art taken from the Low Countries by the French. David's arrival in Brussels in 1816 coincided with the beginning of Odevaere's most ambitious composition, the Departure of the Athenians for Salamis (1816-25; Brussels, Mus. A. Anc.), inspired as much by Jean-Auguste-Dominique Ingres as by David, although the latter frequently advised Odevaere on the painting. From 1825 to 1829 he worked on a series of paintings conveying his support of the philhellenic committees created during the Greek War of Independence.
louis daguerre
Louis-Jacques-Mand?? Daguerre (November 18, 1787 ?C July 10, 1851) was a French artist and chemist, recognized for his invention of the daguerreotype process of photography. Daguerre was born in Cormeilles-en-Parisis, Val-d'Oise, France. He apprenticed in architecture, theater design, and panoramic painting. Exceedingly adept at his skill for theatrical illusion, he became a celebrated designer for the theater and later came to invent the Diorama, which opened in Paris in July 1822. In 1827, Joseph Nic??phore Ni??pce produced the world's first permanent photograph (known as a Heliograph). Daguerre partnered with Ni??pce two years later, beginning a four-year cooperation. Ni??pce died suddenly in 1833. The main reason for the "partnership", as far as Daguerre was concerned, was connected to his already famous dioramas. Niepce was a printer and his process was based on a faster way to produce printing plates. Daguerre thought that the process developed by Niepce could help speed up his diorama creation. Daguerre announced the latest perfection of the Daguerreotype, after years of experimentation, in 1839, with the French Academy of Sciences announcing the process on January 7 of that year. Daguerre's patent was acquired by the French Government, and, on August 19, 1839, the French Government announced the invention was a gift "Free to the World." Daguerre and Ni??pce's son obtained a pension from the Government in exchange for freely sharing the details of the process. Daguerre died in Bry-sur-Marne, 12 km from Paris. A monument marks his grave there.
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).