Italian High Renaissance Painter, ca.1450-1525  Related Paintings of CARPACCIO, Vittore :. | Disputation of St Stephen fdg | The Stoning of St Stephen g | Meeting of the Betrothed Couple (detail) sdg | Baptism of the Selenites (detail) sdf | Apotheosis of St Ursula (detail) fdh |
Related Artists:
Corneille Huysmans
1648-1727 Flemish Corneille Huysmans Galleries
Fritz Petzholdt
(1 January 1805 - 29 August 1838) was a Danish landscape painter of the Copenhagen School, also known as the Golden Age of Danish Painting. He spent most of his artistic life in Italy, where he painted refined landscapes in a light colour palette but died early, most likely by way of suicide. Fritz Petzholdt was born into a prosperous home on 1 January 1805 in Copenhagen to grocer Johan Jacob Petzholdt and his second wife Josephine Marie Elisabeth Petzholdt. After completing an apprenticeship as a house painter, he attended the Royal Danish Academy of Fine Arts from 1824 where he studied under Christoffer Wilhelm Eckersberg, known as the farther of the Golden Age of Danish Painting spanning the first half of the 19th century. He graduated in 1828 and already the following year sold a painting, En mose ved Høsterkøb med tørvearbejdere (A Bog at Høsterkøb), to the Royal Danish Painting Collection. Although he never won the Academy's gold medal, the traditional opening for Academy students to go abroad to further their studies since it was accompanied by a travel stipend, his family's wealth allowed him to travel to Harz the same year and then, in May 1830, to set out for Rome. On the way he visited Dresden, Prague, Nuremberg, Munich, Venice and Florence. In Rome he joined the Danish artists colony which had formed in the city with Bertel Thorvaldsen as its centre. He made excursions to the Roman countrysideeto places such as Tivoli, Subiaco and Olevanoeas well as longer trips south to Naples, Sicily and Corfu. In the winter of 1835/36 he returned to Copenhagen due to his farther's illness and subsequent death. Shortly after the funeral, he returned to Italy with an extended stop in Munich on the way. From Italy he continued to Greece, a destination only Martinus Rørbye had visited before him among the Danish Golden Age painters. On 29 August 1838 he was found dead in his hotel room in Patras with his throat cut. Whether it was a case of suicide or murder was never settled.
Pieter Jansz Saenredam
1597-1665 Dutch Pieter Jansz Saenredam Gallery Saenredam was the son of the print maker and draughtsman Jan Pietersz Saenredam (1565-1607), who was born in Zaandam or, in those days, Saenredam. In 1612 he moved to Haarlem, where he became a pupil of Frans de Grebber and lived the rest of his life. A contemporary of Rembrandt, he is noted chiefly for his surprisingly modern paintings of churches. Saenredam achieved this modern look by meticulously measuring and making sketches of the churches he wanted to paint. He would make these sketches in pencil, pen, and chalk, then and add in water colors to help give the sketch texture and color. The sketches are very architectural in detail, they convey the interior atmosphere through the clever use of light and graduated shadows. Saenredam often deliberately left people out of his work, thus also focusing more attention on buildings and their architectural forms. Only after having made precise measurements, and precise sketches and drawings of the churches, he would take them to his studio where he started to create his paintings. The Reformation led to a rise in Protestant art, of which Saenredam??s Interior of the St. Martin's Dom in Utrecht is an example. As a Catholic church the Dom had been built with adornments. Then, in the epoch of the Eighty Years War and with the church getting in Protestant hands, it was ??cleaned?? of Catholic influences. The altarpieces and statuary were removed, and the walls and ceiling were white washed. The painting shows the church not long after its make-over. The sparse interior with illuminated corridors reflect Protestant ideals, new for Saenredam's time. Alternatively, the paintings of church interiors by Saenredam and other 17th century Dutch painters have been interpreted as having less to do with religion and more with the new-found interest in perspective and with the Dutch interpretation (known as Dutch Classicism) of Palladio??s theories of proportion, balance and symmetry. In any case, Saenredam wanted to memorialize his country during this time of change by documenting many of the country??s buildings. Many artists before him had specialized in imaginary and fanciful architecture, but Saenredam was the first to focus on existing buildings. According to the J. Paul Getty Trust ??Saenredam??s church paintings??owe their poetry to his remarkable blend of fact and fiction. He began by making site drawings of buildings that record measurements and detail with archaeological thoroughness.?? This meticulous preparation helped him to create such accurate and enchanting paintings. The measurements aided him in using scientific linear perspective, just like Andrea Pozzo. He was able to use his measurements to create a realistic image with depth. The Utrecht Archives houses a large number of Saenredam's drawings. In the season 2000-2001 the Centraal Museum at Utrecht held a major exhibition of his drawings and paintings. Perhaps his best known works are a pair of oil paintings both titled Interior of the Buurkerk, Utrecht. One hangs in London's National Gallery, the other in the Kimbell Art Museum in Fort Worth, Texas. In their simplicity and semi-abstract formalism, they foreshadow more modern works such as those of Mondrian and Feininger.