Flemish, 1527-1581,Brother of Hendrik van Cleve III. His presumed date of birth is derived from a document of 2 April 1567 in which he declared his age to be 40. In 1551-2 he became a master in the Antwerp Guild of St Luke and, according to van Mander, followed his brother into the studio of Frans Floris. If this is correct, it was probably c. 1553-5, for motifs drawn from Floris's work appear in Marten van Cleve's paintings executed during these years. Marten married Maria de Greve on 7 January 1556, apparently setting up his own studio at about the same time. Apprentices are regularly recorded from 1558 onwards, and it is probable that his own sons, Gillis II, Marten the younger, Joris and Nicolaas, also worked in the studio. Throughout the 1560s and 1570s Marten van Cleve's workshop was very productive, but the majority of works painted consisted of copies of his own originals. Van Mander's statement that the artist collaborated with a number of landscape painters, including his brother Hendrik III, Gillis van Coninxloo III, Gillis Mostaert and Jacob Grimmer, is confirmed by 17th-century inventories.   Related Paintings of Marten van Cleve :. | Portrait of Lady Margaret Georgiana Poyntz | Johann Jacob Fried | Crockery Vendor | A quiet day on Darebin Creek | Der Laubengang |
Related Artists:
Hans Bollongier
(1600-idem, 1645) was a Dutch Golden Age still life flower painter. Bollongier was born in Haarlem. According to the RKD little is known of his early life. He became a member of the Haarlem Guild of St. Luke in 1623, and in 1675 his younger brother Horatio was named as his beneficiary. He was a specialist in bouquets of blooms. Paintings attributed to him that are not flower- or fruit still lifes are likely the work of his brother Horatio.He was an important influence on the later flower painters known as the monogrammist JF and Anthony Claesz II. He painted during a period of great productivity for Haarlem painters, during the decades after Karel van Mander published his Schilderboeck there. In Karel van Mander's book, there were a set of rules to follow to create good paintings and good drawings. Bollongier developed his own style and still observed all of these rules. His paintings were very popular, but his work was not regarded as such by contemporary Haarlem painters. As a genre, still life painting was considered inferior to historical allegories. His work today is considered part of the proof that Tulip Mania took place, although there is reason to believe that this is also just part of early Haarlem tourist propaganda. Even as early as the 17th century, gentry from Amsterdam, Leiden, and places farther away enjoyed visiting the tulip fields of Haarlem in the Spring, and paintings of tulips were as popular as the bulbs.
Andrea della Verrocchio
1435-1488 Italian Andrea della Verrocchio Gallery
Marc Charles Gabriel Gleyre
Charles Gleyre (full name Marc Gabriel Charles Gleyre) (Chevilly, Vaud canton, 2 May 1806 - 5 May 1874), was a Swiss artist. He took over the studio of Paul Delaroche in 1843 and taught a number of younger artists who became prominent, including Claude Monet, Pierre Auguste Renoir, Alfred Sisley and James Abbott McNeill Whistler. Self portraitHis father and mother died when he was eight or nine years of age; and he was brought up by an uncle in Lyon, France, who sent him to the industrial school of that city. Going to Paris in his late teens, he spent four years in intense artistic study. The following four years Gleyre spent in meditative inactivity in Italy, where he became acquainted with Horace Vernet and Louis Leopold Robert; and six years more were spent wandering in Greece, Egypt, Nubia and Syria. At Cairo he was attacked with ophthalmia, or inflammation of the eye, and in Lebanon he was struck down by fever. He returned to Lyons in shattered health. On his recovery he proceeded to Paris, and, establishing a modest studio in the rue de Universite, began carefully to work out the ideas which had been slowly shaping themselves in his mind. Mention is made of two decorative panels Diana leaving the Bath, and a Young Nubian as almost the first fruits of his genius; but these did not attract public attention until much later, and the painting by which he practically opened his artistic career was the Apocalyptic Vision of St John, sent to the Salon of 1840. This was followed in 1843 by Evening, which at the time received a medal of the second class, and afterwards became widely popular under the title Lost Illusions. It depicts a poet seated on the bank of a river, with his head drooping and a wearied posture, letting his lyre slip from a careless hand, and gazing sadly at a bright company of maidens whose song is slowly dying from his ear as their boat is borne slowly from his sight.