(1473 - 1531) was a German painter and printmaker in woodcut. Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498. Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.  Related Paintings of Hans Burgkmair :. | Maria Antoinette Charlotte Sanderson. | Diana mit Aktaon und Kallisto | Jean Lucien Adolphe Jullien | Madonna della Cintola | The Feast of Herod |
Related Artists:
Carlos Schwabe
German Symbolist Painter, 1877-1926 Swiss painter and printmaker of German birth. He became a Swiss citizen and received his artistic training under Joseph Mittey (b 1853) at the Ecole des Arts Decoratifs in Geneva. Following brief success there, Schwabe moved to Paris where he supported himself as a designer of wallpaper while he developed considerable graphic skills. He soon became active in Symbolist circles, winning favour as an illustrator of mystical religious themes. His highly refined drawings and watercolours accompany texts such as Le Reve by Emile Zola (published 1892; drawings, Paris, Pompidou; exhibited Sociot Nationale des Beaux-Arts, also in 1892), Baudelaire's Les Fleurs du mal (1900), Maeterlinck's Pellias et Melisande, Catulle Mendes's L'Evangile de l'enfance de notre Seigneur Jesus-Christ selon Saint Pierre (1900) and Albert Samain's Jardin de l'Infante (1908).
VAFFLARD, Pierre-Auguste
French painter b. 1777, Paris, d. 1837, Paris,French painter. A pupil of Jean-Baptiste Regnault, he exhibited regularly in the Salon between 1800 and 1831. He executed a number of unremarkable academic works on Classical subjects, for example Electra (1804; exh. Salon 1814) and Orestes Sleeping (1819; both Dijon, Mus. B.-A.). Vafflard gained more success with his Troubadour pictures, which he began to paint in the early 19th century, at the outset of this fashion. They are remarkable for their absence of colour, their theatrical quality and contrasted lighting effects. One of his earliest Troubadour scenes was Emma and Eginhard (exh. Salon 1804; Evreux, Mus. Evreux), based on an episode in the history of Charlemagne's court and painted at a time when the Holy Roman Empire was in fashion in official French circles. In this sentimental painting Vafflard demonstrated his historicizing intentions by emphasizing medieval costume and Gothic architecture and seeking to create an atmosphere similar to the romans de la chevalerie, so highly thought of in France at the end of the 18th century. In the same Salon he exhibited a strange and novel painting, Young Holding his Dead Daughter in his Arms (Angouleme, Mus. Mun.), taken from Edward Young's Night Thoughts (pubd in French in 1769-70).
HONTHORST, Gerrit van
Dutch Baroque Era Painter, ca.1590-1656 Dutch portrait, genre, and allegorical painter. In Italy (c.1610?C1620) he gained a sound understanding of the works of Caravaggio, which greatly affected his style. He was a master at painting candlelit genre pieces and biblical scenes. Upon his return to Holland, he introduced the Italian manner of illusionistic decoration into Dutch interiors, as in his decorative scheme for the palace of Honselaarsdijk. In 1628, Charles I invited him to England, where he decorated Whitehall and painted portraits of the king and nobility. Several of these are now in the National Gallery, London. He also worked for the court of Denmark, and from 1637 to 1652 at The Hague. Together with Terbrugghen and Baburen he led the influential Utrecht school of painting that introduced Caravaggesque dramatic realism into Dutch art.