Kronach 1472-Weimar 1553 German painter and engraver. The son of a painter, he settled in Wittenberg c.1504 and was court painter successively under three electors of Saxony. There he maintained a flourishing workshop and was twice burgomaster. Cranach was a close friend of Martin Luther, whose doctrine he upheld in numerous paintings and woodcuts, and he has been called the painter of the Reformation. He was a rapid and prolific painter, and the work turned out by his studio is uneven in quality. Naïve and fanciful, often awkward in draftsmanship, it has, nonetheless, freshness and originality and a warm, rich palette. His portraits are particularly successful. Among his best-known works are Repose in Egypt (Gemäldgalerie, Staatliche Mus., Berlin-Dahlem); Judgment of Paris (Staatliche Kunsthalle, Karlsruhe); Adam and Eve (Courtauld Inst., London); and Crucifixion (Weimar). The latter contains figures of Luther and Cranach. His many famous protraits include those of Elector John Frederick and Self-Portrait (Uffizi). Cranach was also an accomplished miniaturist. He produced a few copperplates and designs for woodcuts. His son and pupil Lucas Cranach, the Younger,   Related Paintings of Lucas Cranach :. | Johann(es) Scheyring (Ziering) | Venus and Cupid | Doppelbildnis Herzog Heinrichs des Frommen und seiner Gemahlin Herzogin Katharina von Mecklenburg | Portrait of Martin Luther | Saints Christina and Ottilia |
Related Artists:
Jochem de Vries
painted The Zaandam shipping company Claes Tan en Zns Greenland farer Zaandam whaling in 1772
Floris van Dijck
Dutch Baroque Era Painter, 1575-1651 Dutch painter and draughtsman. He is thought to have been a pupil of Rembrandt in Amsterdam c. 1650. There is no documentary evidence for this, but his earliest dated painting, the Presentation in the Temple shows that he had certainly seen examples of Rembrandt work. He was an eclectic artist, given to following several models simultaneously. This is evident from two versions of Elijah and the Widow of Zarephath; one (1655-60; Copenhagen, Stat. Mus. Kst) is painted in horizontal format in the style of Barent Fabritius, while the other (1655-60; Milwaukee, WI, A. Bader priv. col., see Sumowski, 1983, no. 362) features large half-length figures in the manner of Nicolaes Maes. In another biblical scene, Benjamin and Judah (1655-60; Chicago, IL, A. Inst.), he followed the example of Rembrandt. His best works, such as Saying Grace (1655-60; Hannover, Nieders?chs. Landesmus.) and the Old Prophetess (1655-60; Leipzig, Mus. Bild. Kst), show old women either praying or sleeping and confirm that Maes was his main source of inspiration. Similar subjects are represented in the drawings attributed to him (e.g. Old Woman Seated, Holding a Book; New York, Pierpont Morgan Lib.). In the late 1650s van Dijck also seems to have been influenced by the genre paintings of Gabriel Metsu and above all by Quiringh van Brekelenkam, as in Hermit Praying in a Cave (late 1650s; St Petersburg, Hermitage) and Family Saying Grace (late 1650s; Stockholm, Nmus.).
Giovanni Agostino da Lodi
was an Italian painter who was active from c. 1495 to c. 1525. The attribution of his works has been dubious for centuries, until his style and career was defined by the American art historian Bernard Berenson in the 1960s. One of his first identified work is the Pala dei Barcaioli ("Boatmen Altarpiece") in the church of San Pietro Martire at Murano. His only signed work is the St. Peter and St. John the Evangelist in the Pinacoteca di Brera, which shows Lombard influeces, such as that of Bramantino. Later he was also influenced by Leonardo da Vinci's style, as visible in the Christ Washing the Feet of the Apostles in the Gallerie dell'Accademia of Venice. After moving to Venice in the wake of Ludovico Sforza's fall, he returned to Milan in 1506. He subsequently executed works for privates and for the Certosa di Pavia; one of his late works, the Calvary, is housed in the National Gallery in Prague. He also collaborated with Marco d'Oggiono for a polyptych in the church of Santa Maria della Pace in Milan, some panels of which are now in the Pinacoteca di Brera.