Flemish Northern Renaissance Painter, active ca.1490-1530  Related Paintings of Master of Hoogstraeten :. | The Adoration of the Magi | The Adoration of the Magi | The Adoration of the Magi | Adoration of the Magi | Adoration of the Magi |
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Mattheus Ignatius van Bree
was a Belgian painter, sculptor and architect. He was born at Antwerp in 1773, was instructed by Regemorter; he afterwards went to Paris, and after having obtained by a 'Cato in Utica' the second prize for Rome, he went to that city in 1797e returning to his native country in 1804.[1] He painted numerous historical pictures, some of which are of large dimensions, and obtained a high reputation in Flanders. His conceptions are frequently poetical, and his compositions graceful, delineated with a light, free, and spirited pencil ; but his colouring is rather too florid in some instances. He was first professor at the Academy of Fine Arts at Antwerp, and in 1827 its director. Member of several other scientific institutions like the academies of Amsterdam, Rome, Munich and New York. Among his most important works are 'The Patriotism of the Burgomaster Van der Werft,' in the Town-Hall at Leyden, and 'The Death of Rubens,' in the Museum at Antwerp. He brought forward some of the most eminent of the later Flemish painters, among whom are Wappers, De Keyser, F. de Braekeleer, and others of whom their country is justly proud. Van Bree died at Antwerp in 1839.
William Scrots
William (or Guillim) Scrots (or Scrotes or Stretes) (active 1537-1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. He is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. He continued in this role during the reign of the boy king Edward VI. His salary was stopped on Edward's death in 1553, after which it is not known what became of him, though it is presumed he left England. Edward VI, attributed to Scrots, Hampton Court. Portrait of Edward VI in distorted perspective, 1546.Little more is known of Scrots than that his paintings showed an interest in ingenious techniques and detailed accessories. Scrots was paid 50 marks in 1551 for three "great tables", two of which were portraits of Edward delivered to the ambassadors Thomas Hoby and John Mason as gifts for foreign monarchs, and the third a "picture of the late earle of Surrey attainted." Two full-length portraits of Edward VI in a pose similar to that of Holbein's portrait of his father, one now in the Royal Collection (left) and another now in the Louvre (below), are attributed to Scrots and are likely to be these two paintings. Scrots also painted an anamorphic profile of Edward VI, distorted so that it is impossible to view it normally except from a special angle to the side. This optical trick is similar to that used by Holbein in his painting The Ambassadors and in contemporary portraits of Francis I and Ferdinand I. Later, when the painting was exhibited at Whitehall Palace in the winter of 1591-92, it created a sensation, and important visitors were all taken to see it.
Sophie anderson
1823-1903 was a French-born British artist who specialised in genre painting of children and women, typically in rural settings. Her work is loosely associated with the Pre-Raphaelite movement. She was the daughter of Charles Gengembre, a Parisian architect, and his English wife. She was largely self-taught, but briefly studied portraiture with Charles de Steuben in Paris in 1843. The family left France for the United States to escape the 1848 revolution, They first lived in Cincinnati, Ohio, then in Manchester, Pennsylvania, where she met and married the British genre artist Walter Anderson. She initially worked in portraiture, including work for the chromolithographers Louis Prang & Co.. In 1854 the Andersons moved to London, where she exhibited her works in the Royal Academy. They returned to New York in 1858, then finally settled in London around 1863. Over the next three decades, her work was widely shown at venues including the Royal Academy, the Society of British Artists and many regional galleries.