Portuguese painter (active 1500-1542 in Viseu) Portuguese painter. He was the leading painter of northern Portugal during the first half of the 16th century, and it is probable that he received his training abroad. Fernandes is the best-documented Portuguese artist of the period; there are nearly 100 works attributed to him, some of which are securely documented and record his activity either alone or in collaboration with the Viseu painter GASPAR VAZ. Fernandes's most important work was carried out in Lamego and in Viseu, where the term Gr?o ('Great') used in praise of him is first recorded (Ribeiro Botelho Pereira). In 1753 the Director of the Dresden Gallery, Pietro Guarienti, first used the epithet when he referred to Fernandes by the name of Gran Vasco. The many myths about the painter and his work developed from this date and were not clarified until 1846  Related Paintings of FERNANDES, Vasco :. | Nymf och faun | Peder Sunnanvaders and Master Knuts Ignominious Entry into Sthlm | Chaplain-s Porch,Haddon Hall | Polyptych No. 28 (detail) dfgn | The Music Lesson (mk30) |
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Domenico Ghirlandaio
Italian 1449-1494 Domenico Ghirlandaio Galleries Painter, mosaicist and possibly goldsmith. He was head of one of the most active workshops in late 15th-century Florence. He developed a style of religious narrative that blended the contemporary with the historical in a way that updated the basic tenets of early Renaissance art. Domenico documented material situation
PALMA GIOVANE
Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works
Carl Haag
1820 - 1915 German painter, active in Britain. After studying in Nuremberg, he painted miniature portraits in Munich and Brussels. In 1847 he went to London to study English techniques of watercolour painting and evolved a method that he claimed achieved the 'brilliancy of oil painting, combined with the tender-sweetness of water-colours' . From 1850 he exhibited at the Society of Painters in Water-Colours and was elected a full member in 1853.