1395-1441 Flemish Jan Van Eyck Locations Painter and illuminator, brother of Hubert van Eyck. According to a 16th-century Ghent tradition, represented by van Vaernewijck and Lucas d Heere, Jan trained with his brother Hubert. Pietro Summonte assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan works, by manuscript precedents for certain of his motifs, and by his payment in 1439 for initials in a book (untraced) for Philip the Good, Duke of Burgundy. Jan is first documented in The Hague in August 1422 as an established artist with an assistant and the title of Master, working for John III, Count of Holland (John of Bavaria; reg 1419-25), who evidently discovered the artist while he was bishop (1389-1417) of the principality of Liege. Jan became the court official painter and was paid, with a second assistant when the work increased in 1423, continuously, probably until the count death in January 1425.  Related Paintings of Jan Van Eyck :. | Details of virgin and child,with saints and donor | Virgin and child,with saints and donor | Portrait of a Young Man | The Ghent Altarpiece | The couple Arnolfinis brollop |
Related Artists:
PULIGO, Domenico
Italian Painter, 1492-1527 He trained in Florence with Ridolfo Ghirlandaio and in the workshops of Antonio del Ceraiuolo ( fl 1st half 16th century) and Andrea del Sarto. What may be his earliest surviving work, the Virgin and Child with St John (c. 1513; Rome, Pal. Venezia), reflects the style of Ghirlandaio. Other early paintings, however, such as the Holy Family (Florence, Gal. Corsini), show the influence of Fra Bartolommeo and Andrea del Sarto and are little affected by Ghirlandaio. The Virgin and Child with the Infant St John (c. 1522; Florence, Pitti) clearly reflects the examples of Fra Bartolommeo and Raphael, with the figures in the manner of Andrea del Sarto. The figure of the Christ Child may derive from Raphael's Madonna of the Pinks (c. 1507-8; Alnwick Castle, Northumb., on loan to London, N.G.). Over a dozen drawings have been attributed to Puligo, but none relates to his extant work or resembles his style of painting. Vasari described him as a particularly lazy artist, which may account for this scarcity of drawings and for the frequency of borrowed motifs and repeated compositions in his smaller religious paintings. Such borrowing often resulted in a lack of harmony in his compositions, as in the Pitti Virgin and Child. The influence of the more sculptural forms of Andrea del Sarto's work of the 1520s can be seen in the Mary Magdalene (c. 1525; Ottawa, N.G.).
LAER, Pieter van
Dutch painter (b. 1592/95, Haarlem, d. 1642, Haarlem).
Joshua Johnson
(c.1763-c.1824) was an American biracial painter from the Baltimore area. Johnson, often viewed as the first person of color to make a living as a painter in the United States, is known for his naïve paintings of prominent Maryland residents. It was not until 1939 that the identity of the painter of elite 19th century Baltimoreans was shed to light by art historian and genealogist J. Hall Pleasants, who believed that thirteen portraits were painted by one Joshua Johnson. Pleasants attempted to put the puzzle of Johnson's life together, however, questions on Johnson's race, life dates and even his last name (Johnson or Johnston) remained. These questions remained up until the mid-1990s, when the Maryland Historical Society released newly found manuscripts regarding Johnson's life