Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Lucas Cranach
Portrait of Katharina von Boyra

ID: 00644

Lucas  Cranach Portrait of Katharina von Boyra
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Lucas  Cranach Portrait of Katharina von Boyra


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Lucas Cranach

1472-1553 German Lucas Cranach Locations Lucas Cranach the Elder was born at Kronach, Franconia. He was apparently trained by his father, Hans, a painter, and from 1495 to 1498 undertook work at Kronach for Coburg and Gotha. There is evidence that Cranach resided in Vienna between about 1500 and 1504. In 1504 he married Barbara Brengbier of Gotha; they had three daughters and two sons, Hans (died 1537) and Lucas the Younger (1515-1586), both of whom were painters. In 1505 Cranach established residence at Wittenberg, where he was court painter to three successive electors: Frederick the Wise, John the Constant, and John Frederick the Magnanimous. Cranach was a prosperous and respected citizen. He owned several houses and land, held the office of councilor, and was a burgomaster. He also worked for other princely patrons and was a follower and lifelong friend of Martin Luther. In 1550 Cranach followed John Frederick the Magnanimous to Augsburg, where the elector was in exile, and in 1552 accompanied him to Weimar. Cranach died in Weimar on Oct. 16, 1553.   Related Paintings of Lucas Cranach :. | Virgin and Child | Part of a diptych with the portrait of his son | Cupid Complaining to Venus | Venus in a Landscape (mk05) | The Fountain of Youth |
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Charles Rennie Macintosh
Scottish Art Nouveau Designer , (1868-1928). Scottish architect, designer and painter. In the pantheon of heroes of the Modern Movement, he has been elevated to a cult figure, such that the importance of his late 19th-century background and training in Glasgow are often overlooked. He studied during a period of great artistic activity in the city that produced the distinctive GLASGOW STYLE. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in architecture could be achieved only through revealed construction. Although Mackintosh's buildings refrain from overt classicism, they reflect its inherent discipline. His profound originality was evident by 1895, when he began the designs for the Glasgow School of Art. His decorative schemes, particularly the furniture, also formed an essential element in his buildings. During Mackintosh's lifetime his influence was chiefly felt in Austria, in the work of such painters as Gustav Klimt and such architects as Josef Hoffmann and Joseph Maria Olbrich. The revival of interest in his work was initiated by the publication of monographs by Pevsner (1950) and Howarth (1952). The Charles Rennie Mackintosh Society was formed in Glasgow in 1973; it publishes a biannual newsletter, has a reference library and organizes exhibitions. The Hunterian Art Gallery, University of Glasgow, which opened in 1981,
Bartolomeo Manfredi
(baptised 25 August 1582 - 12 December 1622) was an Italian painter, a leading member of the Caravaggisti (followers of Michelangelo Merisi da Caravaggio) of the early 17th century. Manfredi was born in Ostiano, near Cremona. He may have been a pupil of Caravaggio in Romeat his famous libel trial in 1603 Caravaggio mentioned that a certain Bartolomeo, accused of distributing scurrilous poems attacking Caravaggio's detested rival Baglione, had been a servant of his. Certainly the Bartolomeo Manfredi known to art history was a close follower of Caravaggio's innovatory style, with its enhanced chiaroscuro and insistence on naturalism, with a gift for story-telling through expression and body-language. Caravaggio in his brief careerehe rocketed to fame in 1600, was exiled from Rome in 1606, and was dead by 1610 had a profound effect on the younger generation of artists, particularly in Rome and Naples. And of these Caravaggisti (followers of Caravaggio), Manfredi seems in turn to have been the most influential in transmitting the master's legacy to the next generation, particularly with painters from France and the Netherlands who came to Italy. Unfortunately no documented, signed works by Manfredi survive, and several of the forty or so works now attributed to him were formerly believed to be by Caravaggio. The steady disentangling of Caravaggio from Manfredi has made clear that it was Manfredi, rather than his master, who was primarily responsible for popularising low-life genre painting among the second generation of Caravaggisti. Manfredi was a successful artist, able to keep his own servant before he was thirty years old, "a man of distinguished appearance and fine behaviour" according to the biographer Giulio Mancini, although seldom sociable. He built his career around easel paintings for private clients, and never pursued the public commissions upon which wider reputations were built, but his works were widely collected in the 17th century and he was considered Caravaggio's equal or even superior. His Mars Chastising Cupid offers a tantalising hint at a lost Caravaggio: the master promised a painting on this theme to Mancini, but another of Caravaggio's patrons, Cardinal Francesco Maria Del Monte, had taken it, and Mancini therefore commissioned Manfredi to paint another for him, which Mancini considered Manfredi's best work. Manfredi died in Rome in 1622. Gerard Seghers (or Segers; 1589-1651) was one of his pupils
Georg Melchior Kraus
(26 July 1737, Frankfurt am Main - 5 November 1806, Weimar) was a German painter. A student of Johann Heinrich Tischbein, he was also a teacher himself (his pupils included Ferdinand Jagemann), as well as an entrepreneur and friend of Goethe. He was a co-founder of the Ferstliche freie Zeichenschule Weimar with Friedrich Justin Bertuch in 1776.






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