Hans Memling
Netherlandish Northern Renaissance Painter, ca.1435-1494
Born in Seligenstadt, near Frankfurt in the Middle Rhein region, it is believed that Memling served his apprenticeship at Mainz or Cologne, and later worked in the Netherlands under Rogier van der Weyden (c. 1455?C1460). He then went to Bruges around 1465.
There is an apocryphical story that he was a wounded at the Battle of Nancy, sheltered and cured by the Hospitallers at Bruges, and that to show his gratitude he refused payment for a picture he had painted for them. Memling did indeed paint for the Hospitallers, but he painted several pictures for them, in 1479 and 1480, and it is likely that he was known to his patrons of St John, prior to the Battle of Nancy.
Memling is connected with military operations only in a distant sense. His name appears on a list of subscribers to the loan which was raised by Maximilian I of Austria, to defend against hostilities towards France in 1480. In 1477, when he was incorrectly claimed to have been killed, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, under the name of the Seven Griefs of Mary, is now in the Gallery of Turin. It is one of the fine creations of his more mature period. It is not inferior in any way to those of 1479 in the hospital of St. John, which for their part are hardly less interesting as illustrative of the master's power than The Last Judgment which can be found since the 1470s in the St. Mary's Church, Gda??sk. Critical opinion has been unanimous in assigning this altarpiece to Memling. This affirms that Memling was a resident and a skilled artist at Bruges in 1473; for the Last Judgment was undoubtedly painted and sold to a merchant at Bruges, who shipped it there on board of a vessel bound to the Mediterranean, which was captured by Danzig privateer Paul Beneke in that very year. This purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation. Related Paintings of Hans Memling :. | Triptych of Jan Floreins | adam | The Virgin and Child with Angels,Saints and Donors | Scenes from the Passion of Christ | Last Judgement | Related Artists: HAMEN, Juan van derSpanish painter (b. 1596, Madrid, d. 1631, Madrid).
was a Spanish painter, a master of the still life paintings, also called bodegones. During his lifetime, he was prolific and versatile, painting allegories, landscapes, and large-scale works for churches and convents. However, today he is remembered mostly for his still lifes. In the 1620s, He popularized still life painting in Madrid. Juan van der Hamen y Leon was baptized on 8 April 1596 in Madrid, therefore, he must have been born there just days before that date. He was the son of Jehan van der Hamen, a Flemish courtier, who had moved to Madrid from Brussels before 1586, and Dorotea Whitman Gemez de Leon, a half-Flemish mother of noble Toledan ancestry . Van der Hamen and his two brothers Pedro and Lorenzo (both of whom were writers) emphasized their Spanish roots by using all or part of their maternal grandmother's family name, Gemez de Leon. The painter's father, Jan van der Hamen, had come to Spain, as an archer, to the court of Philip II were he settled, married, and his children were born. According to 18th-century sources, the artist's father had also been a painter, but there is no evidence for this. Juan van der Hamen inherited his father's honorary positions at court and also served as unsalaried painter of the king. Van der Hamen's artistic activity in the service of the crown is first recorded on 10 September 1619, when he was paid for painting a still-life for the country palace of El Pardo, to the north of Madrid. Noted for his versatility, Juan van der Hamen painted religious history paintings; allegories, landscapes, low-life subjects, portraits and still-lifes but the last two categories brought him the greatest fame. He served at the courts of Philip III and Philip IV and established the popularity of the new genre of still-life in Madrid in the 1620s. A prolific artist, van der Hamen painted all his works during the first decade of the reign of Philip IV. It is known that he painted more still lifes in 1622 than in any other period of his life. He also reached great personal fame as a portraitist, being this field, the one that provided him with greater personal success, since still life was considered a lesser genre. He executed a portrait of Philip IV and worked during the 1620s in a series of portraits of the principal intellectuals and writers of his time, including: Lope de Vega, Francisco de Quevedo, Luis de Gengora, Jose de Valdivieso, Juan Perez de Montalbon, Juan Ruiz de Alarcen and Francisco de Rioja. On van der Hamen's death, twenty of these portraits were inventoried as a single item among his belongings. The portrait of his older brother, Lorenzo van der Hamen, probably belonged to this series. The series itself was a focal point for philosophic speculation on the art of portraiture by some of the most distinguished minds of the time, who frequently praised Juan van der Hamen in verse and prose. Among Van der Hamen portraits, there is one of a dwarf, painted around 1623 in a powerful naturalistic style. This painting (Madrid, Museo del Prado) anticipated the later made by Velezquez. In 1626, van der Hamen painted cardinal Francesco Barberini, after a previous portrait by Velezquez had failed to please the sitter. Well satisfied with his work Cardinal Barberini acquired three further works from him. As a religious painter Juan van der Hamen worked for several religious institutions in and around Madrid and Toledo, like the Monastery of the Descalzas Reales, in Madrid, for which he painted altars. Few of these paintings are extant. The best surviving examples of his religious work are in the cloister of the Royal Convent of La Encarnacion in Madrid, painted in 1625 in a naturalistic tenebristic style. Juan van der Hamen was also a pioneer in the field of flower painting. Van der Hamen probably began painting floral arrangements in response to the flower pieces of Flemish artists, such as Jan Brueghel, who were regarded as exemplary masters in the field and whose works were much sought after in Spain. One good example of his work as a flower painter is his Offering to Flora , a visual poem that parallels the lyric verse of his time, in which he united his skills as portraitist and flower painter to produce one of the most beautiful paintings of the allegory of spring. Eugene BurnandFrench Painter, 1850-1921
was a Swiss painter. He was born in the municipality of Moudon in the Swiss canton Vaud. Before moving to Paris in 1872 he studied with Barth??lemy Menn at the Ecole des Beaux-Arts in Geneva. In Paris he joined Jean-L??on G??rôme's studio, and was known primarily as a landscape painter. Burnand was greatly influenced by the Realism of such artists as Jean-François Millet and Gustave Courbet. This is reflected in perhaps his best known work, The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection c.1898, BERCKHEYDE, Gerrit Adriaensz.Dutch Baroque Era Painter, 1638-1698
Brother of Job Berckheyde. Gerrit specialized in a particular type of architectural subject, the TOWNSCAPE. His painted work shows a debt not only to Pieter Saenredam's conception of the building portrait but also to Saenredam's refined draughtsmanship and dispassionate attitude; these qualities mark Berckheyde as a classicist and akin to Vermeer. Berckheyde favoured views of monuments on large open squares, a choice that distinguishes him from the other great Dutch townscape painter, Jan van der Heyden, who preferred views along canals in which clarity was sacrificed for pictorial effect.
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