Dutch Baroque Era Painter, 1632-1675 Johannes (or Jan) Vermeer is now recognized as one of the great Dutch painters, but while he was alive he could barely make ends meet, and his artistic achievement was almost entirely ignored for 200 years after his death. Little is known about his personal life, other than he died poor and young and left behind a wife and eleven children. Vermeer is admired for his realistic style, his subtle use of color and light and his unusual and inventive brush technique, but fewer than forty of his paintings exist. His most famous works include domestic scenes such as Girl With a Peal Earring (1665) and The Music Lesson (1662-65), and tranquil landscapes such as The Little Street (1657-58) and View of Delft (1659-60). Although his actual birth and death dates are unknown, Vermeer was baptized 31 October 1632 and buried 15 December 1675... During his career he used the names Johannes van der Meer, Johannes Vermeer and Jan Vermeer  Related Paintings of Jan Vermeer :. | Johannes Vermeer (mk30) | A Lady and Two Gentlemen | The Milkmaid | The Little Street | Young Woman Seated at a Virginal (mk08) |
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BOSCH, Hieronymus
Netherlandish Northern Renaissance Painter, ca.1450-1516 Bosch produced several triptychs. Among his most famous is The Garden of Earthly Delights. This painting depicts paradise with Adam and Eve and many wondrous animals on the left panel, the earthly delights with numerous nude figures and tremendous fruit and birds on the middle panel, and hell with depictions of fantastic punishments of the various types of sinners on the right panel. When the exterior panels are closed the viewer can see, painted in grisaille, God creating the Earth. These paintings have a rough surface from the application of paint; this contrasts with the traditional Flemish style of paintings, where the smooth surface attempts to hide the fact that the painting is man-made. Bosch never dated his paintings and may have signed only some of them (other signatures are certainly not his). Fewer than 25 paintings remain today that can be attributed to him. Philip II of Spain acquired many of Bosch's paintings after the painter's death; as a result, the Prado Museum in Madrid now owns several of his works, including The Garden of Earthly Delights.
Pierre Albert Marquet Prints
French 1875- 1947 Marquet was born in Bordeaux. In 1890 he moved to Paris to attend the Decorative Arts School, where he met Henri Matisse. They were roommates for a time, and they influenced each other's work. Marquet began studies in 1892 at the École des Beaux-Arts under Gustave Moreau, a symbolist artist who was a follower of the Romantic tradition of Eug??ne Delacroix. In these years, Marquet exhibited paintings at the Salon des Ind??pendants. Although he did not sell many paintings, the artistic community of Paris became aware of his work. His early compositions were characterised by a clear and painterly Fauvist approach, in which he had a fine control of the drawing and responded to light, not only by intensifying the strongest tones, but also by seeing the weaker ones in coloristic terms. In 1905 he exhibited at the Salon d'Automne where his paintings were put together with those of Henri Matisse, Maurice de Vlaminck, Andr?? Derain, Othon Friesz, Georges Rouault, Raoul Dufy, Henri Manguin, Georges Braque, Louis Valtat and Jean Puy. Dismayed by the intense coloration in these paintings, critics reacted by naming the artists the "Fauves", i.e. savage beasts. Although Marquet painted with the fauves for years, he used less bright and violent colours than the others, and emphasized less intense tones made by mixing complementaries, thus always as colors and never as grays. At the end of 1907 he stayed in Paris and dedicated himself, together with Henri Matisse, to a series of city views. The fundamental difference between the two is that while Matisse used strong colours, Marquet favored grayed yellows, greyed violets or blues. Black was usually used as a violent contrast to light colors for such forms as bare tree trunks or calligraphically drawn people contrasted with very light, often yellow or orange streets and sidewalks. Another difference is that Marquet used an approximation of traditional perspective, although his colors and compositions constantly referred to the rectangle and cut its plane with their calligraphy. From 1907 to his death, Marquet alternated between working in his studio in Paris and many parts of the European coast and in North Africa. He was most involved with Algeria and Algiers and with Tunisia. In his voyages he painted the sea and ships, but also the lights and animated life of the city, especially cities on the waterfront, like Algiers. Among European cities Marquet remained impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water. He adopted a technique nothing like the Impressionists', painting water as a large area of simple tone which held the plane of the water surface without illusionistic perspective, from which the ships arise into a different plane. His views of the lagoon in Venice do this very economically. The water stays at a right angle to the picture plane and the large ships float with ease, with their reflections exactly the correct tone to project the required space. His color is much like Matisse of the 1920s, here. His contrasts of vivid colors describe the waves of the sea with simple drawing which accompany the exactly observed color tones, giving a scene of placid movement. The human figures are much simplified, calligraphically drawn in a way related to Japanese Shijo style work. Matisse is said to have called him "our Hokusai". During his voyages to Germany and Sweden he painted the subjects he usually preferred: river and sea views, ports and ships, but also cityscapes. Over the course of his career he often returned to the same subjects, even years later, recording subtle differences in the light. He painted a few portraits, and between 1910 and 1914 he painted a series of nudes in whorehouses, and prepared the illustration of a work on lesbian lovers. But he is best known for his many landscapes. Unlike Matisse, there are no obvious periods of change in his work. To the end he was one of Matisse's closest friends, and they discussed each other's work with the greatest openness. His death was unexpected and sudden, from a gall bladder attack and subsequently discovered cancer, for which at that time there was no therapy. Marquet died in Paris, on 14 June 1947.
Eugene Galien-Laloue
French 1854-1941 was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He is recognized as a master of French impressionist street scenes spanning four decades. His work is sought out by collectors all over the world. Well-known in France, his paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th century art, but for the actual history, which they document. He was a populariser of street scenes, usually painted in autumn or winter. His work can be seen at the Musee des Beaux-Arts, Louvier; Musee des Beaux-Arts, La Rochelle; Mulhouse, France. Galien-Laloue has inspired and influenced many of yesterday's and today's artists, including renowned French impressionists Edouard Leon Cortes and Antoine Blanchard. A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. "He was originally trained as an architect, but did not enjoy the promotional aspects of the profession. Under the tutelage of Charles Laloue, he quickly gained fame as an artist, specializing in watercolor and gouache." "Galien-Laloue mastered the depiction of the Belle Epoque Paris street scene, much in the vein of Jean Beraud (1849-1936) or James Jacques Tissot (1836-1902). He portrayed Paris at its best: irresistible shops, boulevards and "quartiers". With delicate line and dramatic lighting, Galien-Laloue documented the daily bustle of one of the world's most beautiful cities, Paris."