Flemish Baroque Era Painter, 1593-1678 Jacob Jordeans was born on May 19, 1593, the first of eleven children, to the wealthy linen merchant Jacob Jordaens Sr. and Barbara van Wolschaten in Antwerp. Little is known about Jordaens's early education. It can be assumed that he received the advantages of the education usually provided for children of his social class. This assumption is supported by his clear handwriting, his competence in French and in his knowledge of mythology. Jordaens familiarity with biblical subjects is evident in his many religious paintings, and his personal interaction with the Bible was strengthened by his later conversion from Catholicism to Protestantism. Like Rubens, he studied under Adam van Noort, who was his only teacher. During this time Jordaens lived in Van Noort's house and became very close to the rest of the family. After eight years of training with Van Noort, he enrolled in the Guild of St. Luke as a "waterscilder", or watercolor artist. This medium was often used for preparing tapestry cartoons in the seventeenth century. although examples of his earliest watercolor works are no longer extant. In the same year as his entry into the guild, 1616, he married his teacher's eldest daughter, Anna Catharina van Noort, with whom he had three children. In 1618, Jordaens bought a house in Hoogstraat (the area in Antwerp that he grew up in). He would then later buy the adjoining house to expand his household and workspace in 1639, mimicking Rubens's house built two decades earlier. He lived and worked here until his death in 1678. Jordaens never made the traditional trip to Italy to study classical and Renaissance art. Despite this, he made many efforts to study prints or works of Italian masters available in northern Europe. For example, Jordaens is known to have studied Titian, Veronese, Caravaggio, and Bassano, either through prints, copies or originals (such as Caravaggio's Madonna of the Rosary). His work, however, betrays local traditions, especially the genre traditions of Pieter Bruegel the Elder, in honestly depicting Flemish life with authenticity and showing common people in the act of celebratory expressions of life. His commissions frequently came from wealthy local Flemish patrons and clergy, although later in his career he worked for courts and governments across Europe. Besides a large output of monumental oil paintings he was a prolific tapestry designer, a career that reflects his early training as a "watercolor" painter. Jordaens' importance can also be seen by his number of pupils; the Guild of St. Luke records fifteen official pupils from 1621 to 1667, but six others were recorded as pupils in court documents and not the Guild records, so it is probable that he had more students than officially recorded. Among them were his cousin and his son Jacob. Like Rubens and other artists at that time, Jordaens' studio relied on his assistants and pupils in the production of his paintings. Not many of these pupils went on to fame themselves,however a position in Jordaens's studio was highly desirable for young artists from across Europe.  Related Paintings of Jacob Jordaens :. | Studies of the Head of Abraham Grapheus | The Satyr and the Peasant | Three Musicians | Diana and Actaeon | The Virgin and Child with Saints Zacharias,Elizabeth and John the Baptist |
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Conrad Witz
1400-1446 German (Resident in Switzerland) Conrad Witz Gallery -6). German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art, while Witz pure tempera technique differs emphatically from the refined use of oil glazes that endows Netherlandish pictures with their jewel-like brilliance.
k. e. jansson
Karl Emanuel Jansson, född 7 juli 1846 i Finström, Åland, död 1 juni 1874 i Jomala, var en åländsk konstnär. Han var näst äldst av sju syskon. Han far, Jan Jansson, var en bonde i Pålsböle. Sina konstnärliga inspiration fick han av sockenmålaren G Kjellgren, vid sex-sju års ålder, när han där lärde sig att läsa och skriva. Efter avlutad skolgång sattes han i skomakarlära. Efter ett år drogs han till Kjellgren och fungerade som hans hjälpreda. Kyrkoherden Frans von Knorring såg i slutet av 1859 några av hans teckningar. Han sände några till Finska Konstföreningens direktion och lovordade Karl. Förening gav ett bidrag för att kunna studera vid Finska Konstföreningens ritskola i Åbo, under ledning av Robert Wilhelm Ekman. Av Ekman fick han husrum, rit- och målningsmaterial och en hel del extra undervisning. Karl gjorde stora framsteg under de 2 åren han målade med Ekman. Jansson flyttade hösten 1862 till Stockholm, för att kunna utvecklas mer som artist, och inskrevs som elev vid Kongl. Akademin för de fria konsterna. Han tog anatomiexamen 1863. Han levde under svåra ekonomiska förhållanden och hade svårt att sälja sina verk. Jansson fick hård kritik för de målningar han sände hem, exempelvis, Babian ätande en råtta, och konstföreningen betraktade dem med avsky. Han började då kritisera sig själv allt mer och mer, och den inställningen behöll han. Han fick inte den uppmärksammad han behövde. Tavlan Den förlorade sonens återkomst, belönades med ett pris. Han avslutade sin utbildning vid akademien 1867 med mycket beröm. Jansson lyckades utverka statsstöd för studier i Dusseldorf och reste dit på hösten 1868. Han åkte hem igen sommaren 1870 och tillbringade ett år på Åland innan han återvände till Dusseldorf. Han var nu märkt av en tilltagande lungsjukdom. De sista verk han fullbordade var Talmannen och En slant i håven. För att lindra sin sjukdom reste han till Rom i mars 1872. Efter några månader åkte han runt till olika kurorter (Davos, Meran) men inget förbättrade hans tillstånd. Efter en liten tid i D??sseldorf kom han hem till Åland sensommaren 1873. Karl flyttade in på Jomala gård, där lagman Lönnblad och hans fru tog hand om honom. Han målade några verk, vilka blev ofullbordade. På dödsbädden fick han veta att han belönats på världsutställningen i Wien för sina konstverk Klöveress och Talmannen, samt att han blivit medlem i konstakademin i Sankt Petersburg. Han dog 1 juni 1874, inte ens fylld 28 år.
F.P.Henningsen
Danish 19th