(August 14, 1502 - December 6, 1550) was a Flemish painter. He studied under Bernaert van Orley and later lived in Italy before entering the Antwerp Guild of painters in 1527. In 1533, he travelled to Constantinople for one year in a failed attempt to establish business connections for his tapestry works. Van Aelst established a studio in Brussels in 1544, where he created paintings and tapestries. His students include Gillis van Coninxloo, Willem Key, Hans Vredeman de Vries, Michiel Coxcie, and possibly Pieter Brueghel the Elder, who did eventually marry van Aelst's daughter, Mayken. His second wife, Mayken Verhulst, was an artist as well, and, according to Carel van Mander, the first teacher of her grandchildren, Pieter Brueghel the Younger and Jan Brueghel the Elder. He was also the uncle of Joachim Bueckelaer. Van Aelst's studio is also well known for its engraved works. In particular, van Aelst is noted for his 1539 translation of Sebastiano Serlio's architectural treatise, Architettura, which is credited with having played a crucial role in spreading Renaissance ideas to the Low Countries and hastening the transition from the late Gothic style prevalent in the area at the time. He was in charge of the spectacular decorations for the 1549 Royal entry into Antwerp of Philip II of Spain, "the most famous entry of the century", according to Roy Strong.   Related Paintings of Pieter van Aelst :. | The Annunciation | Rural landscape | The adoration of the Konige | THe Seine at Rouen | Mrs Arthur Kenworthy |
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Isidre Nonell
(November 30, 1873, Barcelona, Spain - February 21, 1911, Barcelona) a Catalonian painter and drawer belonging to post-impressionism known for his expressive portrayal of the socially marginalized of Barcelona society. (He is also said to belong to modernism and postmodernism.) Isidre Nonell was born in 1872 (not in 1873 as indicated by some biographers). His parents, Isidre Nonell i Torras de Arenys de Mar and Àngela Monturiol i Franc of Barcelona, owned a small but prosperous factory of soup noodles. Together with his childhood friend, Joaquim Mir, with whom he attended the same school in the neighborhood of Sant Pere in the old part of town in Barcelona, he developed artistic ambitions at an early age. His early teachers included Josep Mirabent, Gabriel Martenez Alt and Llu Graner. From 1893 to 1895 he studied at the Escola de Belles Arts de Barcelona (Fine Arts School of Barcelona). He met Ricard Canals, Ramen Pichot, Juli Vallmitjana, Adrie Gual, and Joaquin Sunyer with whom he developed an interest in landscape painting, studying light. The study of sunlight and its effects on color were a main part of Impressionism, which was then active. They were called the "Saffron Group" for the warm tones they used, as well as the "Sant Marte Group" after the town they painted in. In 1894, he began producing illustrations for La Vanguardia. He later drew for other periodicals, including LeEsquella de la Torratxa, Barcelona Cemica, Pel & Ploma, and Forma. In 1896, Nonell went with Ricard Canals and Juli Vallmitjana to the spa town of Caldes de Boe in the Catalonian Pyrenees to work at the spa run by Vallmitjana's family. There, he saw a large number of people suffering from the illness of cretinism, which became a subject of his paintings. In February 1897, he went to Paris with Ricard Canals. There he exhibited and shared a studio with Picasso. He returned to Barcelona in 1900. At the beginning of 1901, he made paintings of women, such as gypsy and working-class women, and still lifes. He exhibited in the Sala Par in Barcelona twice, in 1902 and 1903. The reaction to his works of poor gypsy women was very hostile.
Marlow, William
English, 1740-1813 English painter. From c. 1756 to 1761 he was a pupil of Samuel Scott, the topographical and marine painter; he also studied at the St Martin's Lane Academy, London. Throughout his career Marlow made oils and watercolours of London views, for example Near Westminster Bridge, Evening (London, Guildhall A.G.), which shows his balanced, classical sense of composition, sensitivity to lighting effects and smooth handling of oil paint. Between 1765 and 1766 Marlow travelled in France and Italy, making numerous drawings of ruins, which provided the subjects for many paintings finished on his return to London. An Oxcart in the Grotto of Posillipo (c. 1770; New Haven, CT, Yale Cent. Brit. A.) exemplifies his bold, blue-toned watercolour style, with washes applied in loose blotches to emphasize the picturesque roughness of masonry and terrain. The handling has much in common with Canaletto, whom Marlow copied; a letter of 1771 from Horace Walpole to Sir Horace Mann (see 1956 exh. cat., p. 3) records that two views of Verona by Marlow were mistakenly sold as Canalettos. Marlow specialized in souvenirs of the Grand Tour, portraits of country houses, seascapes and river scenes. He visited many parts of Britain and Ireland in search of subjects, such as Powys Castle, Montgomeryshire (U. Manchester, Whitworth A.G.).
BELLANGE, Jacques
French Painter, ca.1575-1616 Jacques Bellange (c. 1575, place unknown - 1616) was an artist and printmaker from Lorraine, now in France, whose etchings and some drawings are his only securely identified works today. They are among the most striking Mannerist old master prints. His known artistic activity dates only from 1602 to 1616 and he is now familiar chiefly for his etchings and drawings, all his decorative works and most of his paintings having perished. His highly idiosyncratic style was inspired by such Italian artists as Parmigianino, by the School of Fontainebleau and by northern artists including Albrecht D?rer and Bartholomeus Spranger. His work would seem to express a private and nervous religious sensibility through a style of the greatest refinement.