1568-1625 Flemish Jan Brueghel Locations Jan Brueghel the Elder (b. 1568, Brussels - January 13th 1625, Antwerp) was a Flemish painter, son of Pieter Brueghel the Elder and father of Jan Brueghel the Younger. Nicknamed Velvet Brueghel, Flower Brueghel, and Paradise Brueghel, of which the latter two were derived from favored subjects, while the former may refer to the velveteen sheen of his colors or to his habit of wearing velvet. Bouquet, painted 1603. The Entry of the Animals Into Noah Ark, painted 1613.His father died in 1569, and then, following the death of his mother in 1578, Jan, along with his brother Pieter Brueghel the Younger (Hell Brueghel) and sister Marie, went to live with their grandmother Mayken Verhulst (widow of Pieter Coecke van Aelst). She was an artist in her own right, and according to Carel van Mander, possibly the first teacher of the two sons. The family moved to Antwerp sometime after 1578. He first applied himself to painting flowers and fruits, and afterwards acquired considerable reputation by his landscapes and sea-pieces. He formed a style more independent of his father than did his brother Pieter the Younger. His early works are often landscapes containing scenes from scripture, particularly forest landscapes betraying the influence of the master forest landscape-painter Gillis van Coninxloo. Later in his career, he moved toward the painting of pure landscapes and townscapes, and, toward the end, of still lifes. After residing long at Cologne he travelled into Italy, where his landscapes, adorned with small figures, were greatly admired. He left a large number of pictures, chiefly landscapes, which are executed with great skill.  Related Paintings of Jan Brueghel :. | orpheus in the underworld | Village Street | allegory of sight | Flower in a blue vase | Village Street |
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DUSART, Cornelis
Dutch Baroque Era Painter, 1660-1704 Dutch painter, draughtsman and printmaker. He was the son of the organist at St Bavo in Haarlem and one of the last pupils of Adriaen van Ostade. He became a member of the Haarlem Guild of St Luke on 10 January 1679 and served as its dean in 1692. Dated pictures by Dusart have survived from almost every year between 1679 and 1702. Two of his earliest pictures of peasants relied heavily on compositions by van Ostade: Mother and Child (1679; Dresden, Gemeldegal. Alte Meister) and Woman Selling Milk (1679; sold Amsterdam, Muller, 16 Oct 1928, lot 9; the original drawing by van Ostade is in Paris
BARTOLOMEO, Fra
b. 1473, Firenze, d. 1517 b. 1473, Firenze, d. 1517 He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507. Soon thereafter, Raphael visited Florence and befriended the friar. Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting. With Raphael, he remained on the friendliest terms, and when he departed from Rome, left in his hands two unfinished pictures which Raphael completed. At the beginning of 1508 Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism. As the Dominicans did not pay the work, he took it back to Lucca, where it can be seen now. Also in Lucca, in the October 1509, he painted by Albertinelli an altarpiece with Madonna and Child with Saints for the local cathedral. On November 26, 1510 Pier Soderini commissioned him an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco. Two years later he finished another altarpiece for the cathedral of Besancon.
FYT, Jan
Flemish Baroque Era Painter, 1611-1661 Flemish painter, draughtsman and etcher. He was apprenticed in Antwerp in 1621-2 to Hans van den Berch [Berghe] (not to be confused with Jan van den Bergh of Alkmaar) and probably completed his training with Frans Snyders. In 1629-30 Fyt became a master in the Antwerp Guild of St Luke, but he continued to work for Snyders until 1631. In 1633 and 1634 he was in Paris. According to his biographers, he then went to Italy; an Italian journey is confirmed by the fact that in 1650 he joined the Antwerp Guild of Romanists (exclusive to those who had visited Rome), of which he became the dean in 1652. He apparently worked in Rome, where he joined the Schildersbent and was given the nickname 'Goudvink' (Dut.: 'goldfinch'). In Venice, according to Orlandi, Fyt worked for the Sagredo and Contarini families. He is also thought to have visited Naples, Florence and Genoa, and Orlandi stated that he also went to Spain and London. By 5 September 1641 Fyt was back in Antwerp, where, apart from a brief trip to the northern Netherlands in 1642, he apparently remained for the rest of his career.