Bois-le-Duc ca 1450-1516  Related Paintings of Heronymus Bosch :. | Christ Mocked and Crowned with Thorns | Christ Crowned with Thorns | Saint James and the magician Hermogenes | Garden of Earthly Delights | The garden of the desires |
Related Artists:
Sir Henry Raeburn
1756-1823 Scottish Sir Henry Raeburn Galleries He was born the son of a manufacturer in Stockbridge, a former village now within the city of Edinburgh. Orphaned, he was supported by his older brother and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to a goldsmith, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. The goldsmith watched the progress of his pupil with interest, and introduced him to David Martin, who bad been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. In his early twenties, he was asked to paint the portrait of a young lady whom he had previously observed and admired when he was sketching from nature in the fields. She was the daughter of Peter Edgar of Bridgelands, and widow of Count Leslie. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, who advised him on what to study in Rome, especially recommending the works of Michelangelo. Raeburn carried with him to Italy many valuable introductions from the president of the Royal Academy. In Rome he met Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Raeburn's portrait of Sir Walter Scott (1822)Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton, works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, the bust of Dr Wardrop of Torbane Hill, the two full-lengths of Adam Rolland]] of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the earlier years of the 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh, in 1814 associate, and in the following year full member of the Royal Scottish Academy. In 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland. He died at Edinburgh. The Reverend Robert Walker Skating on Duddingston Loch, better known as The Skating Minister (1790s)Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Vel??zquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Raeburn was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting everything directly from life. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the nineteenth century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House, Stockbridge, Edinburgh.
George Bellows
1882-1925 Growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive portrait commissions, as well as social invitations, from New York's wealthy elite. Additionally, he followed Henri's lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands. At the same time, the always socially conscious Bellows also associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with the other contributors because of his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted the atrocities committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which was based on an actual account and gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of anti-war dissenters conducted by the U.S. government under the Espionage Act.
Joannes Fijt
(15 March 1611 - 11 September 1661) was a Flemish Baroque animal painter and etcher. Fyt was born in Antwerp, where he was baptized on 15 June 1611, he was registered in 1621 as apprentice to Hans van den Berghe, who was a restorer of old pictures rather than a painter of new ones. Fyt then trained with Frans Snyders between about 1629-31, during which time, at the age of twenty, he entered the guild of St Luke as a master. From then until his death in 1661, he produced a vast number of paintings in which the bold facility of Frans Snyders is united to the powerful effects of Rembrandt, and harmonies of gorgeous tone are not less conspicuous than freedom of touch and a true semblance of nature. He left Antwerp for Paris in 1633, travelling on to Italy the following year, where he worked in Venice and probably visited Rome (as he later joined the Guild of Romanists back in Antwerp). By 1641 he was back in Antwerp, where he married in 1654. Hunting trophiesFyt excelled in the rendering of animal life in its most varied forms. He may have been less correct in outline, less bold in action than Snyders, but he was much more skilful and more true in the reproduction of the coat of deer, dogs, greyhounds, hares and monkeys, whilst in realizing the plumage of peacocks, woodcocks, ducks, hawks, and cocks and hens, he had no equal, nor was any artist even of the Dutch school more effective in relieving his compositions with accessories of tinted cloth, porcelain ware, vases and fruit. He was not clever at figures, and he sometimes trusted for these to the co-operation of Cornelius Schut or Thomas Willeboirts Bosschaert, whilst his architectural backgrounds were sometimes executed by Quellyn. Silenus amongst Fruit and Flowers, in the Harrach collection at Vienna, Diana and her Nymphs with the Produce of the Chase, in the Belvedere at Vienna, and Dead Game and Fruit in front of a Triumphal Arch, belonging to Baron von Rothschild at Vienna, are specimens of the co-operation respectively of Schut, Willeborts and Quellyn. They are also Fyt's masterpieces. The earliest dated work of the master is a cat grabbing at a piece of dead poultry near a hare and birds, belonging to Baron Cetto at Munich, and executed in 1644. The latest is a Dead Snipe with Ducks, of 1660, sold with the Jäger collection at Cologne in 1871. Great power is shown in the bear and boar hunts at Munich and Ravensworth castle. A Hunted Roedeer with Dogs in the Water, in the Berlin Museum, has some of the life and more of the roughness of Snyders, but lacks variety of tint and finish. A splendid specimen is the Page and Parrot near a table covered with game, guarded by a dog staring at a monkey, in the Wallace collection. With the needle and the brush Fyt was equally clever. He etched 16 plates, and those representing dogs are of their kind unique.