1508-1575 Flemish Pieter Aertsen Galleries Dutch painter and draughtsman, active also in the southern Netherlands. He probably trained in his native Amsterdam but early on moved to Antwerp, where he enrolled in the Guild of St Luke as a master in 1535. In 1542 he was granted citizenship of the city. Among his pupils in Antwerp were Johannes Stradanus and later Joachim Beuckelaer, a cousin of the artist wife and his most loyal follower. The earliest known work by Aertsen is a triptych with the Crucifixion (c. 1545-6; Antwerp, Maagdenhuismus.) for the van den Biest Almshouse in Antwerp. From 1550 Aertsen development can be traced through a large number of signed and dated paintings. Religious works, mostly intended for churches, must have formed an important part of Aertsen output. His early paintings seem to have been strongly influenced by other Antwerp artists, as can be seen in the van den Biest triptych, where the figures are close to those in Jan Sanders van Hemessen background scenes. Van Hemessen influence is also strong in the pair of triptychs showing the Seven Sorrows of the Virgin and the Seven Joys of the Virgin (the latter dated 1554; both Zoutleeuw, St Leonard).   Related Paintings of Pieter Aertsen :. | The adoration of the Magi | Museums national market woman at the Gemusestand | Cook | Apostles Peter and John | Butcher sale state with flight nacb Agypten |
Related Artists:
Jacopo Robusti Tintoretto
1518-1594 Italian Tintoretto Galleries The real name of Tintoretto was Jacopo Robusti, but he is better known by his nickname, meaning the "little dyer, " his father having been a silk dyer. The artist was born in Venice and lived there all his life. Even though his painting is distinguished by great daring, he seems to have led a rather retired life, concerned only with his work and the well-being of his family. His daughter Marietta and his sons Domenico and Marco also became painters, and Domenico eventually took over the direction of Tintoretto's large workshop, turning out reliable but un-inspired pictures in the manner of his father. Some of them are, on occasion, mistaken for works of the elder Tintoretto. Tintoretto appears to have studied with Bonifazio Veronese or Paris Bordone, but his true master, as of all the great Venetian painters in his succession, was Titian. Tintoretto's work by no means merely reflects the manner of Titian. Instead he builds on Titian's art and brings into play an imagination so fiery and quick that he creates an effect of restlessness which is quite opposed to the staid and majestic certainty of Titian's statements. If Tintoretto's pictures at first sight often astonish by their melodrama, they almost inevitably reveal, at closer observation, a focal point celebrating the wonders of silence and peace. The sensation of this ultimate gentleness, after the first riotous impact, is particularly touching and in essence not different from what we find (although brought about by very different means) in the pictures of Titian and Paolo Veronese. Tintoretto was primarily a figure painter and delighted in showing his figures in daring foreshortening and expansive poses. His master in this aspect of his art was Michelangelo. Tintoretto is supposed to have inscribed on the wall of his studio the motto: "The drawing of Michelangelo and the color of Titian." Unlike Michelangelo, however, Tintoretto worked and drew very quickly, using only lights and shadows in the modeling of his forms, so that his figures look as if they had gained their plasticity by a kind of magic. In the rendering of large compositions he is reported to have used as models small figures which he made of wax and placed or hung in boxes so cleverly illuminated that the conditions of light and shade in the picture he was painting would be the same as those in the room in which it was to be hung.
Juan de Flandes
Flemish-born Spanish Northern Renaissance Painter, ca.1460-1519 South Netherlandish painter, active in Spain. Nothing is known of his life or work before he went to Spain, where he is first mentioned in a document of 1496 as Juan de Flandes, a painter in the service of Queen Isabella of Castile. Treasury accounts confirm that he held this position until the Queen death in 1504. On arriving in Spain, he must have lived in Burgos, where he certainly met MICHEL SITTOW, another painter in the Queen service, who had been at the Castilian court since 1492.
Gerard David
b.c. 1460, Oudewater, Neth. d.Aug. 13, 1523, Bruges Flemish Gerard David Locations Netherlandish painter. He is known as the last of the Flemish Primitives. Although born in the northern Netherlands, he moved to Bruges as a young man, and most of his work expresses the impassive, unmannered, microscopically realistic approach peculiar to south Netherlandish art in the time of Jan van Eyck. David was skilled at synthesizing the art of several important south Netherlandish predecessors, adapting, for instance, the compositions of van Eyck and the technique of Hugo van der Goes. He was also influenced by Hans Memling, whose example led him to refine and polish his cruder northern Netherlandish style and to adopt the popular theme of the Virgin and Child enthroned.