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 Portrait of Giovanni Arnolfini and His Wife | The Arnolfini Portrait | Madonna mit dem lesenden Kinde | Madonna of chancellor Rolin | St John the Baptist |
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De Winter Pharaon
French realist painter , 1849-Little 1924
Rutilio Manetti
Italian Baroque Era Painter , 1571 - 1639 was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. He is known to have collaborated with Raffaele Vanni, the son of Francesco. He is known for the following works in Siena or nearby towns: Story of St Catherine and Pope Gregory (1597; Palazzo Pubblico), Baptism of Christ (1600; San Giovannino in Pantaneto); a fresco cycle of the Story of St Roch (1605-1610; San Rocco alla Lupa), Pope Alexander I freed from prison by an Angel from San Giovanni Battista in Sant'Ansano in Greti; a Temptation of Saint Anthony (1620, Sant'Agostino), a Death of Blessed Antonino Patrizi (Monticiano, 1616), a Blessed Domenico dal Pozzo at the table now in Certosa of Florence, a Birth of Virgin (1625, Church of Santa Maria dei Servi), and a painting (1628, Church of San Domenico). He painted a remarkable Allegory of the four seasons and a Parable of the blind men, now in private collections. He also contributed to the Casino Mediceo His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 1600s.
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