1580-1666 Frans Hals Galleries In the field of group portraiture his work is equalled only by that of Rembrandt. Hals's portraits, both individual and group, have an immediacy and brilliance that bring his sitters to life in a way previously unknown in the Netherlands. This effect, achieved by strong Baroque designs and the innovative use of loose brushstrokes to depict light on form, was not to the taste of critics in the 18th century and the early 19th, when his work was characterized as lazy and unfinished. However, with the rise of Realism and, later, Impressionism, Hals was hailed as a modern painter before his time. Since then his works have always been popular.  Related Paintings of Frans Hals :. | Portrait of a Lady | Youth with skull by Frans Hals | Portrait of a Woman (mk05) | Bildnis eines Mannes | Malle Babbe,die Hex von Harrlem |
Related Artists:
Abel Grimmer
Flemish Baroque Era Painter, ca.1570-C.1619
Emil Barentzen
Emilius Ditlev Bærentzen, usually known as Emil Barentzen, (30 October 1799, Copenhagen - 14 February 1868, Copenhagen) was a Danish portrait painter and lithographer, active during the Golden Age of Danish Painting. Born in Copenhagen on 30 October 1799, Barentzen served an apprenticeship at the pharmacy in Nykobing Sjælland but then travelled to Christiansted on the then Danish island of St. Croix in the West Indies where he worked in one of the government offices. Five years later he returned to Denmark and, after qualifying as a lawyer, moved into painting which until then he had practiced as a hobby. In 1821, he entered the Danish Academy where he studied under Christoffer Wilhelm Eckersberg. He was awarded the little silver medal in 1826 and the large silver medal the following year. He soon became one of Copenhagen's most popular portrait painters. His paintings were characterized by an elegant but sober style, free of psychological trimmings in accordance with contemporary practice. One of his most successful works is the portrait of Soren Kirkegaard's fiancee Regine Olsen (1840). In 1837, he began to specialize in lithography with H.L. Danschell who managed his deceased father-in-law's oilcloth factory where stones were used to colour the fabric. This led to the founding of a lithographic company, Emilius Bärentzen & Co.s litografiske Institut, which later became Hoffensberg, Jespersen & Fr. Trap. Bærentzen made lithographs of many of the period's most important figures. He continued to work both as a lithographer and artist until 1866 when he painted the portraint of Cosmus Bræstrup for the Freemasons lodge in Helsingor. He died on 14 February 1868.
BREGNO, Andrea
Italian Early Renaissance Sculptor and Architect, 1418-1503 Andrea Bregno was invited to move from Venice to Rome when the Venetian Paul II was elected Pope. During the pontificate of the Della Rovere Pope Sixtus IV he received many commissions and headed a large workshop, producing many wall tombs of cardinals and other figures of the papal curia with varying degrees of personal responsibility. He was famous among his contemporaries, and was compared to the Greek sculptor Polykleitos in the epitaph of his tomb in Santa Maria sopra Minerva. Raphael's father, Giovanni Santi, mentioned Bregno in the 1480s, in his biography of Federico da Montefeltro, duke of Urbino. Bregno often worked with Mino da Fiesole in Rome, and his refined Lombard manner was rendered more classical by the contact and by the example of Roman sculptures that were increasingly coming to light, of which Andrea Bregno was an early collector: a certain "Prospettivo Milanese", writing in 1499-1500 refers to a torso in the collection of a "Maestro Andrea" that seems to have been the Belvedere Torso. He moved in humanist circles and was an esteemed friend of the humanist in Sixtus' circle, Bartolomeo Platina, the librarian of the Vatican Library. Bregno played a significant role in the standardization of an authentically classicizing style of epigraphy, in the inscriptions that accompany his tombs. In the Sistine Chapel he collaborated with Mino da Fiesole and Giovanni Dalmata to produce the little cantoria or choristers' gallery set into the wall, with its own coffered ceiling and carved marble balusters, and the marble screen.