Rogier van der Weyden 1399/1400 - 1464 was the most important representative of Netherlandish painting or Northern Renaissance ... is, with Jan van Eyck, considered one of the greatest exponents of the school of Early Netherlandish painting. Rogier van der Weyden was born in Tournai as 'Rogier de le Pasture' (Roger of the Pasture) in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watr??los. The family had settled before in the city of Tournai where Rogiers father worked as a 'maître-coutelier' (knife manufacturer). In 1426 Rogier married Elisabeth, the daughter of the Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children: Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two younger children were born: Pieter in 1437 and Jan the next year. From the second of March 1436 onwards held the title of 'painter to the town of Brussels' (stadsschilder) a very prestigious post because Brussels was at that time the most important residence of the splendid court of the Dukes of Burgundy. It was at the occasion of his move to the Dutch-speaking town of Brussels that Rogier began using the Dutch version of his name: 'Rogier van der Weyden'Little is known about Rogier's training as a painter. The archival sources from Tournai (completely destroyed during World War II, but luckily partly transcribed in the 19th and early 20th century) are somewhat confusing and have led to different interpretations by scholars. From a document it is known that the city council of Tournai offered wine in honour of a certain 'Maistre Rogier de le Pasture' on March the 17th 1427. However, on the 5th of March of the following year the records of the painters' guild show a certain 'Rogelet de le Pasture' entered the workshop of Robert Campin together with Jacques Daret. Only five years later, on the first of August 1432, Rogier de le Pasture obtains the title of 'Master' (Maistre) as a painter.[1] Many have doubted whether Campin's apprentice 'Rogelet' was the same as the master 'Rogier' that was offered the wine back in 1426. The fact that in 1426-1427 Rogier was a married man in his late twenties, and well over the normal age of apprenticeship has been used as an argument to consider 'Rogelet' as a younger painter with the same name. In the 1420's however the city of Tournai was in crisis and as a result the guilds were not functioning normally. The late apprenticeship of Rogier/Rogelet may have been a legal formality. Also Jacques Daret was then in his twenties and had been living and working in Campin's household for at least a decade. It is possible that Rogier obtained an academic title (Master) before he became a painter and that he was awarded the wine of honour on the occasion of his graduation. The sophisticated and 'learned' iconographical and compositional qualities of the paintings attributed to him are sometimes used as an argument in favour of this supposition. The social and intellectual status of Rogier in his later life surpassed that of a mere craftsman at that time. In general the close stylistical link between the documented works of Jacques Daret, and the paintings attributed to Robert Campin and Rogier van der Weyden is considered as the main argument to consider Rogier van der Weyden as a pupil of Robert Campin. The last mention of Rogier de la Pasture in the financial records of Tournai, on October 21, 1435, lists him as demeurrant ?? Brouxielles ('living in Brussels'). At the same time, the first mention of Rogier de Weyden is made as the official painter of Brussels. Therefore Rogier de la Pasture and Rogier Van der Weyden are thought to be one and the same painter. The post of city painter was created especially for Van der Weyden and was meant to lapse on his death. It was linked to a huge commission to paint four justice scenes for the 'Golden Chamber' of Brussels City Hall.[2] Different properties and investments are documented and witness his material prosperity. The portraits he painted of the Burgundian Dukes, their relatives and courtiers, demonstrate a close relationship with the elite of the Netherlands. The Miraflores Altarpiece was probably commissioned by King Juan II of Castile, since Juan II donated it to the monastery of Miraflores in 1445.  Related Paintings of Rogier van der Weyden :. | Diptych | St John Altarpiece | St Luke Drawing a Portrait of the Madonna | The Annunciation | Portrait einer Dame |
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Johannes Bosboom
(born The Hague, February 18, 1817 - died there September 14, 1891) was a Dutch painter and watercolorist of the Hague School, known especially for his paintings of church interiors. At the age of 14 he became a student of Bartholomeus van Hove and painted in his studio along with Van Hove's son Hubertus van Hove. Together they worked on the pieces of scenery that Van Hove created for the Royal Theatre in The Hague. In addition, Bosboom took lessons from 1831 to 1835 and again from 1839 to 1840 in the Hague Academy of Art. Here he also made the acquaintance of Antonie Waldorp and Wijnand Nuyen. The young Bosboom traveled to Germany in 1835 to Dusseldorf, Cologne and Koblenz and painted the watercolor View of the Mosel Bridge at Koblenz. This painting was purchased by Andreas Schelfhout, who became his confidante and friend. In 1939 he traveled to Paris and Rouen and received a silver medal for View of the Paris Quay and the Cathedral at Rouen. He also painted a number of church interiors, a relatively traditional genre in which the seventeenth century artists Pieter Saenredam and Emanuel de Witte served as important examples. Bosboom had a great deal of success with these pieces, and for the rest of his career he would repeatedly return to this theme, which was the one in which he would achieve his greatest fame. Bosboom's choice of subject matter may seem to isolate him from the rest of the Hague School, but his search for ways to reproduce the spatial atmosphere through light, shadow, and nuances of color places him in the very mainstream of this group. In 1873, during a stay in Scheveningen, he painted many watercolors of town views, the dunes, the beach and the sea. It is possible that these watercolors encouraged Hendrik Willem Mesdag and Jacob Maris to concentrate further on the sea and beach as subjects.
HALS, Dirck
Dutch painter (b. 1591, Haarlem, d. 1656, Haarlem). Brother of Frans Hals. From 1618 to 1624 and again in 1640 he was an amateur of the Haarlem chamber of rhetoric known as De Wijngaertrancken, to which Frans also belonged. He was enrolled in the Guild of St Luke in Haarlem from 1627 to his death. As Blade has established on stylistic grounds, Dirck collaborated with the architectural painter Dirck van Delen from that year until 1634, with Hals painting the figures. On 4 April 1634 a lottery of paintings was announced, organized by Dirck Hals (who sent some of his own pictures) and Cornelis van Kittensteijn in the inn De Basterdpijp in Haarlem. The following year, on 20 June 1635, the notary van Leeuwen at Leiden authorized Dirck Hals to collect moneys for Pieter Jansz. van den Bosch of Leiden in connection with the proceeds of paintings sold at Haarlem. On 2 March 1643 Dirck Hals signed as a witness in the presence of the notary Willem van Vredenburch at Leiden.
Giovanni Battista Pittoni
Giambattista Pittoni (June 6, 1687-November 6, 1767) was an Italian painter of the late-Baroque or Rococo period, active mainly in his native Venice. Pittoni was born in Venice, and studied painting under his uncle Francesco Pittoni and Antonio Balestra. Little is known of his early career. He entered the Venetian painters' guild in 1716. In 1722-1723, he was commissioned to paint eThe Torture of St Thomase for San Stae in Venice, which also contains one if his later works in its sacristy. He also completed the transit of Santa Maria in Organo in Verona in 1725. In 1727, he was appointed honorary Academician of the Accademia Clementina in Bologna. In subsequent years, Pittoni never left his native Venice, but completed a number of important and lucrative commissions from German, Polish, Russian, Italian and Austrian patrons, including eThe Sacrifice of Jephthah's daughtere for the Royal Palace of Turin, a number of works for the Marshal von Schulenburg, and a eMartyrdom of St Batholomewe for the Basilica of Saint Anthony of Padua. Pittoni came to be known for his "grand-manner" canvases depicting religious, historical, and mythological subjects (such as Sophonisba and Polyxena). By 1740, he established a studio and residence in the San Giacomo district of Venice, and took on numerous apprentices. Pittoni died at age 80 on November 6, 1767. His tomb is at the church of San Giacomo dall'Orio in Venice. Pittoni was a co-founder of the official painter's academy in Venice (in competition to the old fraglia or painter's guild), the Accademia di Belle Arti di Venezia, and he succeeded as President (1758-1761) his contemporary Giovanni Battista Tiepolo. His mature palette was noted, as was Tiepolo's, for his lightness of tone. Besides Tiepolo, Pittoni's influences were Giovanni Battista Piazzetta, Sebastiano Ricci, and Antonio Balestra. His paintings were of a Rococo style, but later became more sedate in their approach towards Neoclassicism.