Netherlandish Northern Renaissance Painter, ca.1440-1482 South Netherlandish painter. In 1467 he enrolled as master in the Ghent painters' guild, sponsored by Joos van Wassenhove, master painter in Ghent in 1464 after registering in Antwerp in 1460. In 1469 the two together acted as guarantors for the illuminator Sanders Bening when he became a master, and it was from Hugo that Joos borrowed money when he went to Rome. Sanders Bening was married to Kathelijn van der Goes, perhaps Hugo's sister. Hugo's status within the guild is further attested by the fact that he was guarantor for two other painters in 1471 and 1475, that he was one of the dean's jurors in 1468-9 and that he himself served as dean from towards the end of 1473-4 to at least 18 August 1475.  Related Paintings of GOES, Hugo van der :. | Sts. Anthony and Thomas with Tommaso Portinari | Venus between Ceres and Bacchus dsg | Jacob and Rachel sf | Adoration of the Shepherds (detail) sdf | Calvary Triptych (detail) |
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karl yens
1868-1945 was a United States painter who specialised in coastal views. Born in Germany, he emigrated to the U.S. and settled in Laguna Beach, California. He was a founding member of the California Water Color Society.
Jacob van Schuppen
Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere. In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).
Luis Menendez
1716-1780. a Spanish painter was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the eighteenth century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedowho had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction.Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille.Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jos' Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725.After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain. Between 1737 to 1742, Melendez worked as a part of a team of artist dedicated to copying van Loo's prototypes of royal portraits for the domestic and overseas market, but at least he had a foothold in the palace. He had his artistic sights on a distinguished career as a court painter. When the Real Academia de Bellas Artes de San Fernando was provisionally inaugurated in 1744, his father, Francisco, was made an honorary director of painting and Luis was among the first students to be admitted, he achieved outstanding results in drawing. The Academy was progressive in that it not only tolerated but also encouraged the 'lesser' genres, including still life. At this time, he was already an accomplished painter as proved by his superb self-portrait at the Louvre signed in 1747. However, this opportunity was marred by a petty quarrel; Luis' father, Francisco, openly attacked the director of the Academy and claimed for himself the honor of being the founder. He had his son Luis personally delivered the inflammatory material to the Academy. Francisco was relieved of his teaching position and Luis was formally expelled from the Academy on June 15, 1748. Unlike his father, Luis professional status was precarious.