Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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Jan van der Straet
An Alchemists Laboratory

ID: 88927

Jan van der Straet An Alchemists Laboratory
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Jan van der Straet An Alchemists Laboratory


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Jan van der Straet

painted Vanity, Modesty and Death in 1569  Related Paintings of Jan van der Straet :. | resurrection | The Judgment of Paris | The Fox in the Snow | The provost and Municipal Magistrates of Paris Discussing the Celebration of Louis XIV-s Dinner at the hotel de Ville after his Recovery in 1687 | Bust of an old woman at prayer |
Related Artists:
Lepic Ludovic Napoleon
French , 1839-1889
Marx Reichlich
1460-1520 German Marx Reichlich Gallery Austrian painter. His name, which first appeared in records of Salzburg citizens in 1494, has been linked (Semper) to an artist who signed some of his paintings with the initials M R. The earliest of the initialled panels, the Adoration of the Magi with the Donor Heinrich Mentlberger (1489; Innsbruck, ex-Wilten Abbey Church; Innsbruck, Tirol. Landesmus.), suggests that Reichlich had trained with the Tyrolean artists Friedrich Pacher and Michael Pacher. The latter lived in Salzburg from 1495 to 1498, and the stylistic association with him visible in the Perckhamer Altarpiece (c. 1495-8; Austria, priv. col., see Oberhammer, nos 1-12) may account for Reichlich's having become a citizen in Salzburg. The connections with both Pachers and the fact that Reichlich received several commissions in Neustift (Novacella, nr Bressanone) suggest that his origins were in that region. According to a receipt dated 1499, he painted a panel (untraced) for the Benediktinerstift of St Lambrecht in Styria. In 1508 Emperor Maximilian I commissioned him to restore the frescoes (in situ) in Schloss Runkelstein near Bozen (Bolzano). The latest panels signed with the initials M R make up part of a double-winged altarpiece (Heiligenblut, St Vincent) that was completed by one 'Wolffgang Maller' in 1520, perhaps because Reichlich was no longer living. Also attributed to Reichlich on stylistic, technical and circumstantial grounds are eight portraits (c. 1519-20) formerly assigned to a 'Master of the Angrer Portrait' whose name was derived from the riveting bust-length portrait of Canon Gregor Angrer of Brixen (1519; Innsbruck, Tirol. Landesmus.).
Antonio Firmino Monteiro
painted Matches in 1884






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