Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | St Augustine | St Luke | Venus and Adonis | Assumption | Venus and Music |
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Master Francke
German painter (early 15th century, active in Hamburg). respectively German for "Master Francke" and Latin for "Brother Francke", was a North German Gothic painter and Dominican friar, born ca. 1380 in the Lower Rhine region or possibly Zutphen in the Netherlands, who died ca. 1440, probably in Hamburg, where he was based at the end of his known career. He is called "Fratre Francone Zutphanico" ("Brother Frank of Zutphen") in one document. He may have trained as an illuminator and painter in France or the Netherlands, and later worked in Munster, before joining in St John's Friary in Hamburg by 1424 at the latest. Two main altarpieces attributed to him survive, dedicated to St Thomas of Canterbury and Saint Barbara, in an unusually intense style, showing awareness of French and Early Netherlandish court art. He probably arrived in Hamburg after the death in 1415 of the previous leading artist there, Master Bertram, and shows little or no influence from him, but he may have been influenced by the more courtly style of Conrad von Soest, about ten years older than Francke, who worked to the south in Westphalia. The Hamburg association of traders to England commissioned an altarpiece from "Mester Francke[nn]" in 1424; the contract does not survive, but is mentioned in their memorial book. This is probably the "St Thomas (of Canterbury) Altarpiece", completed in 1436, of which parts survive in the Kunsthalle, Hamburg. The rather earlier St Barbara Altarpiece may have been commissioned for Finland, where it surfaced a century ago. The "Thomas Altar" has eight surviving scenes, but is missing its main panel and several others. The "Barbara Altar" has also eight scenes, on both sides of the wings to a carved wood central panel by another artist. At least two other panels are in museum collections. Francke was almost entirely forgotten after the Renaissance until the end of the 19th century when, like Master Bertram, he was rediscovered and published by Alfred Lichtwart, Director of the Hamburg Kunsthalle
Juan de Valdes Leal
Seville 1622-1690 was a Spanish painter of the Baroque era. He was born at Seville in 1622, and distinguished himself as a painter, sculptor, and architect. He worked for a time under Antonio del Castillo. Among his works are a History of the Prophet Elias for the church of the Carmelites; a Martyrdom of St. Andrew for the church of San Francesco at Cerdoba; and a Triumph of the Cross for la Caridad at Seville. He was one of the founders of the Seville Academy along with his friend, Bartolome Esteban Murillo. He died at Seville. His wife (daughter of Antonio Palomino), Isabella Carasquilla, was also a painter. She died at Seville as late as 1730. Their children were artists, including Lucas, Juan, Maria, and Laura de Valdes. His daughters specialized in portrait miniatures.
Simon de Vos
Simon de Vos (Antwerp, 20 October 1603-15 October 1676, Antwerp) was a Flemish Baroque painter of genre and cabinet pictures. De Vos studied with Cornelis de Vos (1603-76), to whom he is not related, from 1615 until 1620. In 1620 he joined Antwerp's guild of St. Luke, and then he probably travelled to Rome where he came under the influence of the "low-life" genre paintings of the Bentvueghels and the bambocciate. A Caravaggesque influence, by way of the German painter Johann Liss active in Italy during the 1620s is discernible in De Vos's paintings from this time on. In contrast to the earlier "low-life" paintings, works from the late 1620s until around 1640, which were made after returning to Antwerp, are mostly small "merry company" and courtly genre scenes reminiscent of contemporary Dutch painters Dirck Hals and Pieter Codde. After 1640, De Vos turned away from genre scenes altogether and painted mostly small cabinet paintings of history subjects, influenced stylistically at first by Peter Paul Rubens and then increasingly by Anthony van Dyck. Examples include The Beheading of St. Paul (1648) in the Royal Museum of Fine Arts, Antwerp. He married Catharina van Utrecht, the sister of Adriaen van Utrecht, in 1628.