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EYCK, Jan van
Flemish Northern Renaissance Painter, ca.1395-1441
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's assertion (1524) that he began work as an illuminator is supported by the fine technique and small scale of most of Jan's 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. Related Paintings of EYCK, Jan van :. | Portrait of Jan de Leeuw swh | Portrait of Margareta van Eyck sdf | Portrait of Giovanni Arnolfini and his Wife (detail) dfgj | Annunciation sds | Annunciation | Related Artists: Wilhelm von SchadowGerman Romantic Painter, 1788-1862,Painter, teacher and writer, son of Johann Gottfried Schadow. He studied at the Berlin Akademie from 1805 and in 1806 showed paintings at the annual Akademie exhibition. Under his teacher, Friedrich Georg Weitsch, he quickly became a skilled portrait painter, and by 1810 he was commissioned to paint portraits of members of the Prussian royal family and of the Empress of Austria. Influenced by the English artist John Flaxman, Schadow developed an emphasis on outline. In 1810 Schadow went with his brother Ridolfo Schadow to Rome, where in 1813 he became a member of the Lukasbreder and, in 1814, a Catholic. In 1815-17 he took part, with Peter von Cornelius, Friedrich Overbeck and Philipp Veit, in the commission for frescoes of the Story of Joseph for a room in the Casa Bartholdy (now Berlin, Alte N.G.). In his continuing interest in portraits, Schadow differed from his colleagues. Following the example of Gottlieb Schick and similarly inspired by Raphael, Schadow developed a poetic style of portraiture. In 1819 he returned to Berlin in order to help Karl Friedrich Schinkel with the decoration of the Schauspielhaus. He took over the running of a studio and won a high degree of respect as a painter and teacher. Vincenzo CatenaItalian
c1480-1531
Vincenzo Catena Location
Italian painter. His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits. The latter, as Vasari observed, include several of his finest works. George HorlorBritish
1849-1891
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