(August 14, 1502 - December 6, 1550) was a Flemish painter. He studied under Bernaert van Orley and later lived in Italy before entering the Antwerp Guild of painters in 1527. In 1533, he travelled to Constantinople for one year in a failed attempt to establish business connections for his tapestry works. Van Aelst established a studio in Brussels in 1544, where he created paintings and tapestries. His students include Gillis van Coninxloo, Willem Key, Hans Vredeman de Vries, Michiel Coxcie, and possibly Pieter Brueghel the Elder, who did eventually marry van Aelst's daughter, Mayken. His second wife, Mayken Verhulst, was an artist as well, and, according to Carel van Mander, the first teacher of her grandchildren, Pieter Brueghel the Younger and Jan Brueghel the Elder. He was also the uncle of Joachim Bueckelaer. Van Aelst's studio is also well known for its engraved works. In particular, van Aelst is noted for his 1539 translation of Sebastiano Serlio's architectural treatise, Architettura, which is credited with having played a crucial role in spreading Renaissance ideas to the Low Countries and hastening the transition from the late Gothic style prevalent in the area at the time. He was in charge of the spectacular decorations for the 1549 Royal entry into Antwerp of Philip II of Spain, "the most famous entry of the century", according to Roy Strong.   Related Paintings of Pieter Coecke van Aelst :. | Cicero Discovering the Tomb of Archimedes | See mit Mann im Boot | La Mort de Paetus | A Pine Forest Mast-Timber forest in Viatka Province | Caryatid |
Related Artists:
MIGNON, Abraham
Dutch Baroque Era Painter, 1640-1679 Dutch painter, was born at Frankfurt. His father, a merchant, placed him under the still-life painter Jacob Marrel, by whom he was taken to the Netherlands about 1660. He then worked under Jan Davidszoon de Heem at Utrecht, where in 1675 he married the daughter of the painter Cornelis Willaerts. Sibylle Merian (1647-1717), daughter of the engraver Matthew Merian, became his pupil and achieved distinction as a flower painter. He died at Utrecht. Mignon devoted himself almost exclusively to flowers, fruit, birds and other still-life, though at times he also attempted portraiture. His flower pieces are marked by careful finish and delicate handling. His favourite scheme was to introduce red or white roses in the centre of the canvas and to set the whole group of flowers against a dark background. Nowhere can his work be seen to better advantage than at the Dresden Gallery, which contains fifteen of his paintings, twelve of which are signed. Six of his pictures are at the Louvre, four at the Hermitage, and other examples are to be found at the museums of Amsterdam,
Jan Preisler
Czechoslovakian, 1872-1918 Bohemian painter. He studied at the School of Applied Arts in Prague (1887-95). In 1906 he visited Belgium, the Netherlands and Paris. He taught at the Academy of Arts in Prague from 1913. He was a pioneer in modern Bohemian art, and his work developed from pure Art Nouveau and Symbolism towards Expressionism, in three phases. The period 1887-1900 is represented by the triptych Spring (1900; Prague, Trade Fair Pal.): with its lack of scales of tonal value or Impressionist instantaneousness, it is a skilful use of colour and composition. The figure of the boy with autobiographical features is symbolic of a whole generation. The period 1901-7 culminated in Painting from a Bigger Cycle (1901-2; Prague, Trade Fair Pal.), which balances vertical and horizontal lines and employs bright colour combinations. In Black Lake (1904; Prague, Trade Fair Pal.), which deals with the misery and excitement of first love, the contrast of black and white and the figure of the boy with a horse and a girl evoke the transitive moment between reality and dream. Spring (1906; Prague, Trade Fair Pal.), a testament to Preisler admiration for the work of Gauguin, develops the resonant contrast of green, yellow and white. In 1908-18 Preisler returned to monumental decoration: of the Palacky Room in the Municipal House in Prague, 1910-12, in the style of Puvis de Chavannes. At this time he was approaching the Expressionism of the younger generation from the Eight (ii), especially in the three versions of the painting Good Samaritan (1910-13; all priv. col., see Kotalok, pl. 41), which shows the influence of Daumier and Munch.
Jakob Bogdani
1660-1724