(1534 - 1593), Flemish artist, received his early training from his two uncles who were also painters. He then was the apprentice to a Mechelen watercolorist and tempera painter at the age of fourteen. Because Boles watercolors became so widely reproduced, he began creating miniatures on parchment. The technique earned him many international clients and a good income. In addition, Bol also produced several oil paintings, illuminated manuscripts, drawings, and engravings. He preferred to create landscapes, mythological, allegorical and biblical scenes, and genre paintings. Bol was a mannerist, which followed the High Renaissance. One of his most famous works of art is Landscape with the Fall of Icarus, made with watercolours on paper. It was inspired by Ovid's Metamorphoses, in which the ancient myth of Icarus is told. The painting is a marvelous example of the art of landscape. Subtle colour transitions, skilful perspective and effective contrasts between foreground and background, and human figures and the forces of nature, lend this miniature painting a cosmic dimension. Bol chose the Icarus theme on several occasions. It was also subject of one of his paintings, which described in detail and highly praised by Karel van Mander in the 17th century. Although Bol was once an important and admired painter, we only know him through his small drawings and watercolours. Most of his paintings appear to have been lost. This miniature is all the more important, because it probably produces the painting referret to by Van Mander, which may have been his masterpiece. Consequently, Bol ought to be viewed not only as a superior miniature painter, but above all as an important artist who played a key role in the development of landscape art.   Related Paintings of Hans Bol :. | In the Kitchen Garden (nn2 | landscape from lejre | Leda mit dem Schwan, | Voorberei compete Oileverf for the carnival | The Mother of God of Tenderness toward Evil Hearts |
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Anton Domenico Gabbiani
1652-1726 Italian Anton Domenico Gabbiani Gallery Italian painter. He first trained with the Medici court portrait painter Giusto Suttermans and then with the painter Vincenzo Dandini. On 20 May 1673 he arrived in Rome, where he studied for three years under Ciro Ferri and Ercole Ferrata at the Accademia Fiorentina. He responded in particular to the paintings of Pietro da Cortona and Carlo Maratti who were both to be important influences on him. Though not precocious, Gabbiani became one of the most noted painters from the Accademia. After a period in Venice (1678-9) with the portrait painter Sebastiano Bombelli, he was in Florence in 1680. By 1684, the year in which he executed an Annunciation (destr.) for the Palazzo Pitti, he was an independent painter. His first important public commission, the St Francis de Sales in Glory (1685) for the church of SS Apostoli, Florence (in situ), shows the influence of Maratti in its grandiose composition and that of Dandini in the treatment of figures. In Prince Ferdinando de Medici Gabbiani found a particularly loyal patron, and he painted his portrait, Ferdinando de Medici and his Musicians (c. 1685; Florence, Pitti). One of the works executed for Ferdinando was possibly a portrait of his sister, which Chiarini has identified with the painting of Anna Maria Luisa de Medici (c. 1685; Florence, Pitti). Further works from this period are the group portrait of Three Musicians (Florence, Pitti) at Ferdinando court and a Group of Courtiers (1685-90; Florence, Uffizi).
Klimt, Gustav
Austrian Art Nouveau Painter, 1862-1918 Artist Gustav Klimt, like composer Gustav Mahler, philosopher Ludwig Wittgenstein and big-time thinker Sigmund Freud, was a hotshot of Vienna's glory days as it ushered in the 20th century. Influenced by Impressionism, Symbolism and Art Nouveau, Klimt founded the Vienna Secession (1898), an avant-garde art movement that included a broad base of artisans and craftsmen as well as painters. Klimt himself was known more for elaborate graphic schemes than "painterly" work -- his most famous piece, The Kiss (1908), shows his distinctive gold-encrusted decorations over a semi-realistic portrait of an embracing couple. He used the framework of myth and allegory and he painted women, in ornate portraits and erotic exposures that were scandalous by Victorian-era standards. He also had time for more than painting -- after his death he was credited with as many as 14 illegitimate children. A big influence on the decorative arts in Austria, his most famous paintings include Salome
Willem van de Velde the Elder
(c. 1611 - 13 December 1693) was a Dutch Golden Age seascape painter. Willem van de Velde, known as the Elder, a marine draughtsman and painter, was born in Leiden, the son of a Flemish skipper, Willem Willemsz. van de Velde, and is commonly said to have been bred to the sea. In 1706 Bainbrigg Buckeridge noted that he eunderstood navigation very welle. He married Judith Adriaensdochter van Leeuwen in Leiden, the Netherlands, in 1631. His three known legitimate children were named Magdalena, born 1632; Willem, known as the Younger, also a marine painter, born 1633; and Adriaen, a landscape painter, born 1636. His marriage was stormy, at least in its later years. David Cordingly relates that Willem the Elder fathered two children out of wedlock in 1653, one eby his maidservant, and the other by her friend. Nine years later the Elder and his wife went through a legal separation, eon account of legal disputes and the most violent quarrelse. The immediate cause of the dispute was his affair with a married woman.e Michael S. Robinson noted that eon 17/27 July 1662, he and his wife agreed to part. A condition of the separation was that the Elder could recover from his son Adriaen etwo royal giftse, presumably gifts from Charles II for work done in England.e Cordinglyes account further relates that the dispute was still continuing after another ten years, since ein the autumn of 1672 Judith complained to the womanes husband.e Robinson adds that by 1674 the couple emust have been reconcilede, for at a chance meeting with Pieter Blaeu in Amsterdam in July the Elder explained that he was only visiting for a few days ein order to fetch his wifee. His son, Adriaen, had died in Amsterdam in 1672, and Willem the Elder was also fetching his grandson, similarly named Adriaen, who was then aged two. After his move to England, the exact date of which is uncertain, but reportedly at the end of 1672 or beginning of 1673, he is said to have lived with his family in East Lane, Greenwich, and to have used the Queenes House, now part of the National Maritime Museum in Greenwich, as a studio. Following the accession of William and Mary as King and Queen of England, it appears that this facility was no longer provided, and by 1691 he was living in Sackville Street, now close to Piccadilly Circus. He died in London, and was buried in St Jameses Church, at the south end of the street.