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 :. | The Ghent altar piece voltooid | Portrait of Giovanni Arnolfini and His Wife | Portrait of Margarete van Eyck | Cardinal Niccolo Albergati | Portrait of Giovanni Arnolfini and his Wife |
Related Artists:
Filippo Brunelleschi
Italian Early Renaissance Sculptor and Architect, 1377-1446,Florentine architect and engineer. Trained as a sculptor and goldsmith, he turned his attention to architecture after failing to win a competition for the bronze doors of the Baptistery of Florence, having tied with Lorenzo Ghiberti. He worked out the laws of linear perspective (later codified by Leon Battista Alberti). By the early 1420s Brunelleschi was Florence's most prominent architect. His major work, the octagonal dome of the cathedral (1420 ?C 36), was constructed with the aid of machines of his own invention. The Medici family commissioned him to design the (old) sacristy and basilica of San Lorenzo (begun 1421), considered keystones of the early Renaissance; he adhered to the conventional format while adding his own interpretation of antique designs for capitals, friezes, pilasters, and columns. His later monumental works foreshadowed the strong profiles and massive grandeur of the work of Alberti and Donato Bramante.
Gustav Bauernfeind
German Painter, 1848-1904
Bernardo Strozzi
1581-1644 Italian Bernardo Strozzi Galleries Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630),, Saint Lawrence distributing Alms at San Nicol?? da Tolentino[7] and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.