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 :. | Vendor of Fowl | Museums national market woman at the Gemusestand | Cook | Market Woman with Vegetable Stall | Peasants by the Hearth |
Related Artists:
Henry Fuseli
Swiss-born British Romantic Painter, 1741-1825 Henry Fuseli was the first artist to command the epic literature and heroic history of northern Europe as well as the Mediterranean countries, and by his wide reading and close study of the Old Masters he equipped himself to extend the scope of history painting far beyond the traditional limits of the Bible and classical antiquity. In his speculative boldness he was a child of the Enlightenment, but he was also a fierce critic of sterile rationalism and preached the gospel of the imagination with religious fervor. Henry Fuseli was born Johann Heinrich F??ssli (in 1764 he Anglicized his name) in Zurich on Feb. 6, 1741, the son of a painter with strong religious convictions who destined him for the Zwinglian ministry. After a period of intensive theological study Fuseli was ordained in 1761 and preached his first sermon. He was a friend of Johann Kaspar Lavater, whose Aphorisms on Man he later translated into English from manuscript. Fuseli became the favorite disciple of Johann Jakob Bodmer, who in 1740 had published an essay on the wonderful in poetry that led to a literary war with Johann Christoph Gottsched in Germany and the formation of a revolutionary Swiss school which used English literature, especially Milton and Shakespeare, as a spearhead in promoting romanticism.
Carlos de Haes
Spanish 1826-1898 Carlos de Haes Galleries Spanish painter of Belgian birth. In 1835 he moved with his parents to M?laga, where he studied under the court portrait painter and miniature painter Luis de la Cruz y R?os (1776-1853). In 1850 he returned to Belgium and studied with the landscape painter Joseph Quineaux (1822-95). During his studies there and on his travels in France, Germany and Holland, he became acquainted with contemporary Realist trends. He returned to Spain in 1855, becoming a naturalized Spaniard, and the following year he exhibited numerous landscapes at the Exposici?n Nacional, Madrid, to much acclaim. In 1857 he won the competition for the fourth chair of landscape painting at the Escuela de Bellas Artes in Madrid with View of the Royal Palace from the Casa de Campo (1857; Madrid, Real Acad. S Fernando), a work showing characteristics of the Barbizon and Fontainebleau landscape schools. In 1860 he was elected Acad?mico de m?rito at the Real Academia de S Fernando in Madrid. By 1861 he was officiating and drawing up the regulations for the landscape competitions for aspiring pensionnaires. Consequently plein-air works came to be required in place of the previous tradition of submitting historical landscapes executed in the studio, a practice that discouraged the study of nature. De Haes suggested that only final corrections should be made in the studio, an attitude that indicates his timid initiation and acceptance of Realist trends.
Juan Carreno de Miranda
English: Juan Carreño de Miranda (March 1614-September 1685) was a Spanish painter of the Baroque period. Español: Juan Carreño de Miranda (Aviles, 1614 - Madrid, 1685) fue un pintor español del siglo XVII, que destace en la Corte española de Felipe IV, y, sobre todo, Carlos II.