Dutch, born circa 1465-1529,South Netherlandish painter. He probably came into contact with Simon Marmion, the renowned painter and book illuminator from Valenciennes, via Jacquemart Pilavaine, a publisher and illuminator in his native Bergen. Provoost married Marmion's widow, Jeanne de Quaroube, before 1491, and it is thus assumed that Marmion was his teacher. In 1493 Provoost moved to Antwerp, a promising town for artists, where he registered as a master in the Guild of St Luke, but in 1494 he travelled to Bruges. He became a citizen there and soon played an important part in the painters' guild. In 1506 Maximiliaen Frans (1490-1547) was his pupil. Provoost received commissions for decorative work from the town council and church authorities in 1509, 1513 and 1520, the year of the Triumphal Entry of Charles V into Bruges, for which he worked on the decorations. He returned to Antwerp the same year to meet Albrecht Derer, who may have drawn his portrait. Derer visited Bruges in April 1521 and was Provoost's guest. Of Jan Provoost's children, Adriaen Provoost (b 1508) became a painter and Thomas Provoost a glassmaker, both active in Bruges. Jan Provoost's time as a pupil in a northern French miniaturist's workshop was of decisive influence on his later oeuvre. His work radiates assurance, with its precise drawing, restrained expression and airy landscapes, and he was successful in Bruges, where there was little competition after Hans Memling's death in 1494.   Related Paintings of Jan provoost :. | The Coronation of the Virgin | The Coronation of the Virgin | Madonna and Child with two angels | The Coronation of the Virgin | Madonna and Child with two angels |
Related Artists:
Maffei, Francesco
Italian Baroque Era Painter, 1605-1660 Italian painter. He probably trained with his father, Giacomo Maffei, before joining the workshop of the Maganza family in Vicenza. His early works, such as the Ecce homo (ex-Dianin priv. col., Padua, see Pallucchini, 1981,), were influenced by the eclectic style, between Veronese and the Bassani, of Alessandro Maganza. The St Nicholas and the Angel (1626; Vicenza, S Nicola da Tolentino), with colours like those of Veronese, yet lighter, suggests Maffei's rapid development of an independent style that is both rugged and moving. His interest in narrative, already evident in scenes from the Life of St Cajetan (Vicenza, S Stefano), was developed in the later Martyrdom of the Franciscan Minors at Nagasaki (Schio, S Francesco), which is datable to about 1630. Here, the contrast between the pale, silvery tones of the background and the darker foreground figures is derived from Tintoretto, but the exaggerated Mannerist treatment of the main figures also recalls the art of such French engravers as Jacques Bellange and Pierre Brebiette. At the same time there is also an echo of the extreme stylizations of Giovanni Demio.
Robert Campin
1406-1444 Robert Campin Location South Netherlandish painter. He is first mentioned in 1405-6 as a painter in Tournai. As he purchased citizenship there in 1410, he may have been born elsewhere. There is evidence of some connection with Valenciennes, where the name Campin is said to have been common, but nothing certain is known of his artistic training and background.
Lower Rhenish School
early fifteenth century