Netherlandish Northern Renaissance Painter, ca.1400-1464 major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion   Related Paintings of WEYDEN, Rogier van der :. | Portrait of Philip the Good | Deposition | The Last Judgment | St John Altarpiece | The Last Judgment |
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Abbot H Thayer
1849-1921 Abbot H Thayer Galleries Abbott Handerson Thayer (August 12, 1849 ?C May 29, 1921) was an American artist, naturalist and teacher. As a painter of portraits, figures, animals and landscapes, he enjoyed a certain prominence during his lifetime, as shown by the fact that his paintings are in the most important U.S. art collections. In the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a major book about protective coloration in nature, titled Concealing Coloration in the Animal Kingdom: An Exposition of the Laws of Disguise Through Color and Pattern; Being a Summary of Abbott H. Thayer??s Disclosures. First published by Macmillan in 1909, then reissued in 1918, it had a widespread impact on the use of military camouflage during World War I. He also influenced American art through his efforts as a teacher, taking on apprentices in his New Hampshire studio.
Frank Holl
1845-1888 Painter and illustrator. He received his first art instruction from his father, Francis Holl. At the age of 15 he entered the Royal Academy Schools, where in 1862 he was awarded a silver medal for drawing and in 1863 the gold medal for a religious subject, Abraham about to Sacrifice Isaac (untraced). In 1864 he exhibited two paintings at the Royal Academy,
Leopold Robert
(13 May 1794 - 20 March 1835), Swiss painter, was born at La Chaux-de-Fonds (Neuchâtel) in Switzerland, but left his native place with the engraver Girardet at the age of sixteen for Paris. He was on the eve of obtaining the grand prix for engraving when the events of 1815 blasted his hopes, for Neuchâtel was restored to Prussia, and Robert was struck off the list of competitors as a foreigner. Whilst continuing his studies under Girardet he had never ceased to frequent the studio of David, and he now determined to become a painter, and only returned to his native country when his master himself was exiled. At Neuchâtel he attracted the notice of Roullet de Mezerac, who enabled him by a timely loan to proceed to Rome. In depicting the customs and life of the people, of southern Italy especially, he showed peculiar feeling for the historical characteristics of their race. After executing many detached studies of Italian life Robert conceived the idea of painting four great works which should represent at one and the same time the four seasons in Italy and the four leading races of its people. In the "Return from the Fete of the Madonna dell'Arco" (Louvre) he depicted the Neapolitans and the spring. This picture, exhibited at the Salon of 1827, achieved undoubted success and was bought for the Luxembourg by Charles X; but the work which appeared in 1831 the "Summer Reapers arriving in the Pontine Marshes" (Louvre), which became the property of Louis Philippe established the artist's reputation. Florence and her autumn vineyards should now have furnished him with his third subject. He attempted to begin it, but, unable to conquer his passion for Princess Charlotte Napoleon (then mourning the violent death of her husband, Robert's devoted friend), he threw up his work and went to Venice, where he began and carried through the fourth of the series, the "Fishers of the Adriatic." This work was not equal to the "Reapers." Worn by the vicissitudes of painful feeling, and bitterly discouraged, Robert committed suicide before his easel on 20 March 1835, on the tenth anniversary of the melancholy suicide of a brother to whom he had been much attached.