French 1420-1479 Jean Fouquet Locations French painter and illuminator. He is regarded as the most important French painter of the 15th century and was responsible for introducing Italian Renaissance elements into French painting. Little is known of his life, and, apart from a signed self-portrait medallion (Paris, Louvre), his only authenticated work is the Antiquit?s judaeques (Paris, Bib. N., MS. fr. 247). A corpus of works by Fouquet has therefore been established on the basis of stylistic criteria, but its exact chronology is uncertain.  Related Paintings of Jean Fouquet :. | The building of the temple to jerusalem, from Flavius Josephus De antiquity skills and wars of the Jews | Virgin and Child Surrounded by angels | The Enthronement of the Virgin | The Martyrdom of St Apollonia | The taking of Jerusalem by Herod the Great, 36 BC |
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Michiel Sweerts
(29 September 1618-1664), also known as Michael Sweerts, was a Flemish painter of the Baroque period, active in Rome (1645-1656) in the style of the Bamboccianti. The Bamboccianti were known for depicting genre scenes of daily life, but Sweerts's contributions to this genre display greater stylistic mastery and social-philosophical sensitivity than many of his colleagues in this "school." Highly successful in Rome during his years there, Sweerts's reputation suffered a severe collapse not long after his death, lasting centuries; but thanks especially to the 2002 international monographic exhibition devoted entirely to him, Michael Sweerts: 1618-1664, he has begun once again to enjoy the esteem his work clearly merits. Born in Brussels, he arrived in Rome in 1646, and rapidly moved into the circle of Flemish painters associated with Pieter van Laer (leader of the so-called Bamboccianti painters) and that resided near Santa Maria del Popolo. In 1647, he attended meetings of the Accademia di San Luca, although not as a member. Despite the fragmentary nature of evidence pertaining to his career in Rome and the post-mortem eclipse of his reputation, we know that Sweerts succeeded in creating for himself a sufficiently exalted reputation in the city so as to enter into the service of the ruling papal family itself, the Pamphilj, more specifically, Camillo Pamphilj, nephew of reigning Pope Innocent X who, at the encouragement of Camillo, bestowed upon Sweerts the papal title of Cavaliere di Cristo, the same honor enjoyed by the likes of Gian Lorenzo Bernini and Francesco Borromini. Despite working in the highest echelons of papal patronage in Rome, sometime between 1652 and 1654, for reasons unknown Sweerts left the Eternal City and returned to the North, and by 1656, he had returned to Brussels, where he joined the painter's guild. He joined the Paris Foreign Missions Society as a lay brother and became a devout Christian. In 1658 he made the guild a self portrait as a farewell gift and moved to Amsterdam, where he would oversee the building of a ship for travel with the aforementioned Missions Étrangeres to Palestine.
Vladimir Tatlin
1885-1953,Ukrainian sculptor and painter. After a visit to Paris (1914), he became the leader of a group of Moscow artists who sought to apply engineering techniques to sculpture construction, a movement that developed into Constructivism. He pioneered the use of iron, glass, wood, and wire in nonrepresentational constructions. His Monument to the Third International, commissioned by the Soviet government, was one of the first buildings conceived entirely in abstract terms and was intended to be, at more than 1,300 ft (400 m), the world's tallest structure. A model was exhibited at the 1920 Soviet Congress, but the government disapproved of nonfigurative art and it was never built. After 1933 Tatlin worked largely as a stage designer.
Panfilo Nuvolone
(1581-1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua. Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where frescoe church ceilings, and painted altarpieces and still lifes. One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.