Italian Early Renaissance Painter, 1420-1497
Italian Renaissance painter. Early in his career he assisted Lorenzo Ghiberti on the east doors of the Baptistery in Florence and Fra Angelico on frescoes in Florence, Rome, and Orvieto. His reputation today rests on the breathtaking fresco cycle The Journey of the Magi (1459 C 61) in the chapel of Florence's Medici-Riccardi Palace. His work as a whole was undistinguished, however. He painted several altarpieces and a series of 25 frescoes of Old Testament scenes
Related Paintings of GOZZOLI, Benozzo :. | Scenes from the Life of St Francis (Scene 5, north wall) g | St Fortunatus Enthroned sdg | Scenes from the Life of St Francis (Scene 11, south wall) dfh | Scenes from the Life of St Francis (Scene 3, south wall) sdg | Scenes from the Life of St Francis (Scene 1, north wall) g |
Related Artists:Jan Baptist Weenix
(Amsterdam, 1621- Vleuten 1660), a painter of the Dutch Golden Age. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were Italian landscapes with large figures among ruins, seaside views, and, later in life, large still life pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground.
Weenix was the son of an architect and born near Amsterdam's harbour. He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. He drew whenever he could, according to Jan Weenix his son, who told the story to Arnold Houbraken.
Weenix first studied under Jan Micker, then in Utrecht under Abraham Bloemaert, and later back in Amsterdam under Claes Cornelisz. Moeyaert. In 1643 Weenix travelled to Rome with Nicolaes Pieterszoon Berchem. He had left his home secretly, but his wife, the daughter of Gillis d'Hondecoeter, traced him to Rotterdam. Then he was allowed to stay away for four months. In Rome he became a member of the Bentvueghels and was much esteemed and worked for Pope Innocent X. He returned to Amsterdam after four years; his wife had refused to come to Rome.
In 1649 he became master of the guild of St. Luke in Utrecht and also painted a portrait of Rene Descartes. When his brother-in-law Gijsbert d'Hondecoeter died, he trained his nephew Melchior d'Hondecoeter, together with his own son Jan Weenix. Weenix moved to a castle outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date.
He painted a few religious scenes, one of the rare pieces of this kind being the "Jacob and Esau" (Gemäldegalerie Alte Meister, Dresden). In the National Gallery, London, is a "Hunting Scene" by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg.
Franz von Lenbach
Shrobenhausen 1836-Munich 1904
German painter. The son of a master builder, he trained for his father's profession at the Kenigliche Landwirtschafts- und Gewerbeschule in Landshut, also working from 1851 in the sculpture studio of Anselm Sickinger (1807-73) in Munich. His elder brother, Karl August Lenbach (1828-47), had already become involved with painting, and it was through him that Franz Lenbach met Johann Baptist Hofner (1832-1913), an artist who had studied at the Akademie der Bildenden Kenste in Munich. They went on sketching expeditions together, and Hofner introduced him to plein-air painting. After spending two semesters at the Polytechnische Schule in Augsburg (1852-3), and some months in the studio of Albert Grefle (1807-89), a portrait painter in Munich, Lenbach entered the Akademie in Munich in 1854. In 1857 he attended the classes of Karl Theodor Piloty (later von Piloty), who was renowned for his history paintings. Lenbach produced his first important painting, the Angel Appearing to Hagar in the Desert (1858; destr.), while in this class, followed by Peasants Trying to Take Shelter from a Thunderstorm in a Chapel (1858; destr.; oil sketch, Schweinfurt, Samml. Schefer). The sale of this picture, together with a scholarship, enabled him to accompany Piloty on a journey to Rome with Ferdinand von Piloty (1828-95), Antoine Le Nain
French Baroque Era Painter, ca.1600-1648,The three were born in Laon (Mathieu in 1607; Antoine and Louis were originally believed to have been born in 1588 and 1593, respectively, but those dates have since been disputed: they may have instead been born just before and just after 1600), and by 1630, all three lived in Paris. Because of the remarkable similarity of their styles of painting and the difficulty of distinguishing works by each brother (they signed their paintings only with their surname, and many may have been collaborations), they are commonly referred to as a single entity, Le Nain. Louis is usually credited with the best-known of their paintings, a series of scenes depicting peasant life. These genre paintings are often noted for being remarkably literal, yet sympathetic; the subjects are never grotesque or seem ridiculed. There remains some question, however, as to whether some of the assumed "peasants" were truly from the rural class--many seem to be simply the bourgeois at leisure in the country. The brothers also produced miniatures (mainly attributed to Antoine) and portraits (attributed to Mathieu). Mathieu became the official painter of Paris in 1633, and was made a chevalier. Antoine and Louis died in 1648. Mathieu lived until 1677. The Le Nain paintings had a revival in the 1840s and, thanks to the exertions of Champfleury, made their appearance on the walls of the Louvre in 1848.