(Amsterdam, 1597 - Haarlem, 11 May 1664) was a Dutch Golden Age architect and painter. De Bray established himself in Haarlem before 1617, where he is registered as being a member of the schutterij that year in the St. Adrian's cloveniers.[1] He probably followed draftsmanship and painting lessons in the small academy started by Karel van Mander, Hendrick Goltzius and Cornelis van Haarlem, and where he married in 1625. He is registered as a pupil of Goltzius and Cornelis van Haarlem, but he probably started his training in Amsterdam with Jan Pynas, Nicolaes Moeyaert and Pieter Lastman.He painted history paintings, portraits and landscapes. As a Catholic he probably also made altar pieces for the Haarlem underground Catholic churches known as mission stations, or staties. He was a member of the Chamber of rhetoric called "De Wijngaertranken". This is probably how he met his wife Anna, the sister of the painter Jan and the poet Jacob Westerbaen. They married in 1625 and in 1630 he became a member of the Haarlem Guild of St. Luke. He cooperated with fellow Haarlem lukasguild member Jacob van Campen in the decoration of Huis ten Bosch in The Hague. His works draw on the spirit of the Dutch classicism beginning at that time, and are comparable with those of Pieter de Grebber. Transcription of Salomon de Bray's proposed hierarchy of the guild in 1631. The Haarlem archivist C.J. Gonnet published a book in 1877 on the Haarlem St. Lukasgilde archives. This was meant for historians wishing to do research on Haarlem painting, but who could not read the old handwriting.De Bray was also active as a designer of silverwork, as a poet, as an architect and as a town planner for the city council of Haarlem. He designed an ambitious plan to expand the city on the North side that was partially implemented in the decades after his death. He became headman of the Guild of St. Luke and even prepared a new charter for the guild (that was never ratified) in 1631. As an architect, he was involved in the construction or expansion of Haarlem's City Hall, Zijlpoort, and St. Annakerk (Church of St. Anne), and Nijmegen's city orphanage. One of his poems was set to music by his friend the composer Cornelis Padbru??. Salomon de Bray was the father of ten children, of whom three (Dirck de Bray, Jan de Bray, and Joseph de Bray) became notable artists. He probably died of the plague that hit Haarlem in 1664, as he and his children Jacob, Josef, Juliana and Margaretha all died in April and May of that year. His wife had already died the previous year. He was buried in the Sint-Bavokerk in Haarlem. In 1631 Salomon de Bray wrote "Architectura Moderna" which provided a biography and descriptions of buildings built by Hendrick de Keyser, one of the key Dutch architects of the period   Related Paintings of Salomon de Bray :. | Danae | St Anthony | Vertumnus and Pomona | The Martyrdom of Saint Sebastian wf | Venus and Adonis |
Related Artists:
johann friedrich august tischbein
German Painter, 1750-1812. 1750 Maastricht ?C Heidelberg 1812. First he was a pupil of his father Johann Valentin Tischbein (1715-1768) in Hildburghausen, from 1768 one of his uncle Johann Heinrich Tischbein the elder (1722-1789) in Kassel. Supported by Prince Friedrich von Waldeck he stayed in Paris from 1772 until 1777, where he studied at the academy of arts under N. B. L??pici?? (1735-1784). Afterwards he travelled to Rome, where he got in contact with the painters A.R. Mengs (1728-1779), J.L. David (1748-1825) and Fr.H. F??ger (1751-1818) and probably also with the English style of portrait painting. 1779 he travelled to Naples. In 1780 he returned to Arolsen via Vienna, Munich, Stuttgart and Kassel, where he worked for the Prince of Waldeck. From 1780 he was his councillor and court painter. During this time he made several journeys e.g. to Holland and after 1785 to Weimar where he met Wieland (1785), Schlegel (1792) and other important people. From 1795 he worked for Leopold III. of Anhalt-Dessau. 1800 he succeeded A. Fr. Oeser (1717-1799) as director of the academy of arts in Leipzig. From 1806 to 1808 he stayed in St Petersburg. He died 1812 when he visited his daughter Caroline Wilken (1783-1843) in Heidelberg
Friedrich Herlin
(c. 1425/30 - 1500) was a German painter. His earliest known work, depicting scenes from the Life of the Virgin, is dated 1459. A signature on an altarpiece in Nördlingen, dating it to 1462, identifies him as being from Rothenburg, as do citizenship documents from 1467. Nevertheless, it is possible that he lived there for only a short time, and that his origins lie in Ulm, where a painter named Hans Herlin lived and worked from 1449 until 1468. Stylistically, he borrowed much from Rogier van der Weyden, indicating a great deal of familiarity with the art of the Netherlands and of Cologne. The sculpture attached to the altarpiece of 1462, though officially listed as by the so-called "Master of Nördlingen", has been tentatively ascribed to Nicolaus Gerhaert, which if true would indicate extensive contacts to the highest artistic circles of the era. Little else is known of Herlin, save that he died in Nördlingen in 1500.
Arturo Ferrari
(Milan, 1861 - 1932) was an Italian painter. Initiated into artistic studies by his father Cesare, an associate of Luigi Scrosati, and the painter Mose Bianchi from Lodi, Arturo Ferrari completed his training at the Brera Academy under the guidance of Giuseppe Bertini from 1877 to 1884 while working in the studio of Gerolamo Induno at the same time. He made his debut at the Esposizione di Belle Arti di Brera in 1879 with a view of the interior of Milan Cathedral, thus inaugurating the repertoire of Milanese perspective views that was to be a constant feature of his vast production of oil paintings and watercolours. He soon became the guiding spirit of a poetic and sentimental evocation of "Old Milan" during the phase of transition to the 20th century, when the face of the city changed radically through wholesale rebuilding. A regular participant in all the major exhibitions until 1932, the year of his death, he was the recipient of numerous marks of official recognition and enjoyed considerable success with the public as well as the esteem of conservative critics.