1623-1667) was a highly popular Flemish Baroque painter of fruit and flowers, in banquet style on a plank, but also in garland form. He seems to have been influenced by Jan Davidszoon de Heem, since his subjects follow his style quite closely. According to Houbraken his paintings were prized for preserving summer plenty in the middle of winter. In a poem by Cornelis de Bie, it is written that his fruits would tempt a pregnant woman. His paintings hang in many european museums, and the Dutch RKD has over 70 known works by him on record. He signed his works JORIS VAN SON. His students were Frans van Everbroeck, Jan Pauwel Gillemans II, and Norbert Montalie.  Related Paintings of Joris van Son :. | Crustaces huitre et coupe de fruits avec un verre | Still Life of Fruit | Still-Life with cheese | Fruchtestillleben mit Nautilusmuschel | La fuga di Papa Eugenio IV |
Related Artists:
Correggio
Italian 1489-1534 Correggio Locations Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.
Hendrik Heerschop
painted Alexander the Great and Diogenes in 1661
Tivadar Kosztka Csontvary
born 1853 - d. 1919) was a Hungarian painter. He was one of the first Hungarian painters to become well known in Europe. Csontvery was born on 5 July 1853 in Kisszeben, Seros County, Kingdom of Hungary (today Sabinov, Slovakia), and died 20 June 1919 in Budapest. His ancestors were Poles who settled down in Hungary. Although Csontvery was obsessed with his Magyar roots, he himself grew up speaking Slovak mixed with German. He was a pharmacist until his twenties. On a hot sunny afternoon, 13 October 1880, e when he was 27 years old e he experienced a mystic vision. He heard a voice saying "you will be the greatest sunway painter, greater than Raphael!" He took journeys around Europe, visited the galleries of the Vatican, then went home to collect money for his journeys working as an apothecary. From 1890 onwards he traveled around the world. He visited Paris, the Mediterraneum (Dalmatia, Italy, Greece), North Africa and the Middle East (Lebanon, Palestine, Egypt, Syria) and painted pictures. He painted his major works between 1903 and 1909. He had some exhibitions in Paris (1907) and Western Europe. Most of the critics in Western Europe recognized his abilities, art and congeniality, but in the Kingdom of Hungary during his life he was considered to be an eccentric crank for several reasons, e. g. for his vegetarianism, anti-alcoholism, anti-nicotinism, pacifism, his latent, but more and more apparent schizophrenia and his cloudy, prophetic writings and pamphlets about his life (Curriculum), genius (The Authority, The Genius) and religious philosophy (The Positivum). Even though later he was acclaimed, during his lifetime Csontvery's visionary, expressionistic style found little understanding. A loner by nature, the master's mental balance was upset by his efailuree impairing his creative power. Little did he know that some years after his death, an entire museum in Paris, Hungary, would be devoted to his paintings, and that worldwide appreciation of his works would be in constant ascendancy. Many painters, e.g. Picasso added a stone to Csontvery's cairn.