(October 4, 1515 ?C January 25, 1586) was a German Renaissance artist, known for his woodcuts and paintings. He was a son of Lucas Cranach the Elder who began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop. The style of their paintings can be so similar that there have been some difficulties in attribution of their works.  Related Paintings of Lucas Cranach the Younger :. | Portrait of Philip I, Duke of Pomerania. | Selbtsbildnis | Miniature of Barbara Radziwill | Adam and Eve | Miniature of Barbara Radziwill |
Related Artists:
Matthias van Helmont
Antwerp1623-after1679 Brussels
Patrick Henry Bruce
American Cubist Painter, 1881-1936 was an American cubist painter. A descendant of Patrick Henry, Bruce was born in Campbell County, Virginia, the second of four children. His family had once owned a huge plantation, Berry Hill, worked by over 3,000 slaves. Berry Hill is now a resort & conference center outside South Boston, Virginia and is now a National Historic Landmark. Berry Hill Estate originally was part of a 105,000-acre (420 km2) tract granted by the English Crown in 1728 to William Byrd II. The Civil War left the Bruce's wealth greatly diminished. Bruce began taking evening classes at the Art Club of Richmond in 1898, while working in a real estate office during the daytime. His earliest known extant painting dates from 1900. In 1902 he moved to New York, where he studied with William Merritt Chase, Robert Henri, and Kenneth Hayes Miller. By February 1904 he was in Paris, where he would live until 1933. Although his evolution toward a modernist style was gradual, his works of 1908 reveal the influence of Renoir and C??zanne, and in that year he was among the first to enroll in Matisse's school. Bruce exhibited regularly in the Salon d'Automne, and met many of the leading artists of the early twentieth century avant garde.
MASSYS, Quentin
Flemish Northern Renaissance Painter, ca.1465-1530 Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study.