1395-1441 Flemish Jan Van Eyck Locations 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 assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan 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. Jan became the court official painter and was paid, with a second assistant when the work increased in 1423, continuously, probably until the count death in January 1425.  Related Paintings of Jan Van Eyck :. | Die Hl. Barbara | Portrait of Jacobaa von Bayern | Suckling Madonna Enthroned | Madonna des Kanonikus Georg van der Paele, mit Hl. Domizian, dem Hl. Georg und dem Stifter Paele | St Jerome |
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John Vanderlyn
1775-1852 John Vanderlyn (October 18, 1775 ?C September 23, 1852) was a American neoclassicist painter, was born at Kingston, New York. He was employed by a print-seller in New York, and was first instructed in art by Archibald Robinson (1765-1835), a Scotsman who was afterwards one of the directors of the American Academy. He went to Philadelphia, where he spent time in the studio of Gilbert Stuart and copied some of Stuart's portraits, including one of Aaron Burr, who placed him under Gilbert Stuart as a pupil. He was a proteg?? of Aaron Burr who in 1796 sent Vanderlyn to Paris, where he studied for five years. He returned to the United States in 1801 and lived in the home of Burr, then the Vice President, where he painted the well-known likeness of Burr and his daughter. In 1802 he painted two views of Niagara Falls, which were engraved and published in London in 1804. He returned to Paris in 1803, also visiting England in 1805, where he painted the Death of Miss McCrea for Joel Barlow. Vanderlyn then went to Rome, where he painted his picture of Marius amid the Ruins of Carthage, which was shown in Paris, and obtained the Napoleon gold medal there. This success caused him to remain in Paris for seven years, during which time he prospered greatly. In 1812 he showed a nude Ariadne (engraved by Durand, and now in the Pennsylvania Academy), which increased his fame. When Aaron Burr fled to Paris, Vanderlyn was for a time his only support. Vanderlyn returned to the United States in 1815, and painted portraits of various eminent men, including Washington (for the U.S. House of Representatives), James Monroe, John C. Calhoun, Governor Joseph C. Yates, Governor George Clinton, Andrew Jackson, and Zachary Taylor. He also exhibited panoramas and had a "Rotunda" built in New York City which displayed panoramas of Paris, Athens, Mexico, Versailles (by himself), and some battle-pieces; but neither his portraits nor the panoramas brought him financial success, partly because he worked very slowly. In 1842, through friendly influences, he was commissioned by Congress to paint The Landing of Columbus. Going to Paris, he hired a French artist, who, it is said, did most of the work. It was engraved for the United States five-dollar banknotes. He died in poverty at Kingston, New York, on 23 September 1852. Vanderlyn was the first American to study in France instead of in England, and to acquire accurate draughtsmanship. He was more academic than his fellows; but, though faithfully and capably executed, his work was rather devoid of charm, according to the 1911 Encyclopaedia Britannica. His Landing of Columbus has been called (by Appleton's Cyclopedia) "hardly more than respectable." His other works include portraits of Monroe, and Robert R Livingston (New York Historical Society).
CRANACH, Lucas the Elder
German painter (b. 1472, Kronach, d. 1553, Weimar). German painter and engraver. The son of a painter, he settled in Wittenberg c.1504 and was court painter successively under three electors of Saxony. There he maintained a flourishing workshop and was twice burgomaster. Cranach was a close friend of Martin Luther, whose doctrine he upheld in numerous paintings and woodcuts, and he has been called the painter of the Reformation. He was a rapid and prolific painter, and the work turned out by his studio is uneven in quality. Naïve and fanciful, often awkward in draftsmanship, it has, nonetheless, freshness and originality and a warm, rich palette. His portraits are particularly successful. Among his best-known works are Repose in Egypt (Gemäldgalerie, Staatliche Mus., Berlin-Dahlem); Judgment of Paris (Staatliche Kunsthalle, Karlsruhe); Adam and Eve (Courtauld Inst., London); and Crucifixion (Weimar). The latter contains figures of Luther and Cranach. His many famous protraits include those of Elector John Frederick and Self-Portrait (Uffizi). Cranach was also an accomplished miniaturist. He produced a few copperplates and designs for woodcuts. His son and pupil Lucas Cranach, the Younger, 1515C86,
Ettore Tito
(17 December 1859-26 June 1941) was an Italian artist particularly known for his paintings of contemporary life and landscapes in Venice and the surrounding region. He trained at the Accademia di Belle Arti in Venice and from 1894 to 1927 was the Professor of Painting there. Tito exhibited widely and was awarded the Grand Prize in painting at the 1915 Panama CPacific International Exposition in San Francisco. In 1926 he was made a member of the Royal Academy of Italy. Tito was born in Castellammare di Stabia in the province of Naples and died in Venice, the city which was his home for most of his life.