German Northern Renaissance Painter, ca.1470-1528,was an important German Renaissance painter of religious works, who ignored Renaissance classicism to continue the expressive and intense style of late medieval Central European art into the 16th century. Only ten paintings (several consisting of many panels) and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht D??rer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece in Colmar, Alsace (now in France). The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. His real name remains uncertain, but was definitely not Grunewald; this was a mistake by the 17th-century writer, Joachim von Sandrart, who confused him with another artist. He is documented as "Master Mathis" or "Mathis the Painter" (Mathis der Maler), and as using as surname both Gothart and Neithardt - this last may have been his surname, or more likely that of his wife. He was probably born in Wurzburg in the 1470s. It is possible he was a pupil of Hans Holbein the Elder. From about 1500 he seems to have lived at Seligenstadt, when not working elsewhere. His first dated painting is probably in Munich, dated 1503 on a much later note which apparently records an older inscription. From about 1510 to 1525 he served in the Rhineland as court painter,  Related Paintings of Matthias Grunewald :. | Fourteen Saints Altarpiece | Carrying the Cross | Matthias Grunewald | The Mocking of Christ | Sts Paul and Anthony in the Desert |
Related Artists:
Mariano Fortuny y Marsal
1838-1874 Spanish Mariano Fortuny y Marsal Gallery He was born in Reus, a town near Taragona in the autonomous community of Catalonia in Spain. His father died when he was an infant, his mother by age 12, thus Mariano was raised by his grandfather, a cabinet-maker. His grandfather taught him to make wax figurines. At the age of 9, at a public competition in his town a local patron, Domingo Soberno, encouraged further study. At the age of 14 years he moved to Barcelona with his grandfather. A sculptor, Domingo Taleru, secured him a pension of to allow him to attend the Academy of Barcelona. There he studied for four years under Claudio Lorenzale, and in March of 1857 he gained a scholarship that entitled him to two years of studies in Rome starting in 1858. There he studied drawing and grand manner styles. In 1859, he was called by the Spanish government to depict the campaigns of the Spanish-Moroccan War. The expedition lasted for only about six months, and he returned to Spain in the summer of 1860. The battle of Tetuan by Mariano Fortuny (1863-73)Since the days of Velazquez, there had been a tradition in Spain of memorializing battles and victories in paint; and on the basis of his experiences, Fortuny was commissioned by the city of Barcelona to paint a large canvas diorama of the capture of the camps of Muley-el-Abbas and Muley-el-Hamed by the Spanish army. He began his composition of The battle of Tetuan on a canvas fifteen metres long; but though it worked on and off on it during the next decade, he never finished it. The greater influence of this travel on Fortuny was his subsequent fascination with the exotic themes of the world of Morocco, painting both individuals and imagined court scenes. He visited Paris in 1868 and shortly afterwards married Cecilia de Madrazo, the daughter of Federico Madrazo, who would become curator of the Prado Museum in Madrid. Together, they had a son, Mariano Fortuny y Madrazo, who became a well-known fashion and tapestry designer. Another visit to Paris in 1870 was followed by a two years' stay at Granada, but then he returned to Rome, where he died somewhat suddenly on the 21st of November 1874 from an attack of tertian ague, or malaria , contracted while painting in the open air at Naples and Portici in the summer of 1874. Fortuny paintings are colorful, with a vivacious iridescent brushstroke, that at times recalls the softness of Rococo painting but also anticipates impressionist brushwork, Fortuny??s recollection of Morocco is not a costume ball, but a fierce, realistic portrait which includes bare-chested warriors. Richard Muther states: ??his marvellously sensitive eye ?? discerned the stalls of Moorish carpet-sellers, with little figures swarming, and the rich display of woven stuffs of the East; the weary attitude of old Arabs sitting in the sun; the sombre, brooding faces of strange snake-charmers and magicians. This is no Parisian East??every one here speaks Arabic??. Fortuny often painted scenes where contemporary life had still not shaken off the epaulets and decorations of ancient traditions such a the ????Burial of a matador???? and couples signing marriage contracts (La Vicaria). Each has the dazzle of bric-a-brac [1]ornament, but as in his painting of the ????Judgement of the model????, that painterly decorative air of Rococo and Romanticism was fading into academicism and left to confront the naked reality of the represented object. He inherited Goya??s eye for the paradox of ceremony and reality.
Luis Melendez
1716-80 He assisted his father, artist Francisco Melendez, until 1737, when he began studying with Lewis-Michel Vanloo, the court painter to Philip V of France. Although accepted (1745) into the Spanish Royal Academy of Fine Arts, he was expelled after his father denounced the academy in a dispute over a royal competition. After traveling throughout Italy, he returned to work for his father as an illustrator of choirbooks.
Henry Ottmann
painted Nature morte aux fruits et a la fiasque de vin in 20th century French, 1877-1927