Flemish Northern Renaissance Painter, ca.1465-1530,Flemish painter. After studying in Louvain, he moved to Antwerp by 1491, remaining in that city throughout his life. Influences of Italian art, especially of Leonardo da Vinci, may be seen in his work, particularly in the delicate modeling, the subtle nuances of tone, and in the adoption of Leonardo's grotesque head studies for such pictures as The Old Man (Jacquemart-Andre Mus., Paris) and Ugly Duchess (National Gall., London). Massys sought inspiration also in works of earlier Flemish artists, especially of Jan van Eyck. The combined Flemish and Italian influences aided Massys in evolving a calm and measured style, with solid figures and soft textures. He developed a type of portraiture in which the sitter was placed against an appropriate background, as in his painting of St. Erasmus surrounded by books and papers (National Gall., Rome). There are religious subjects and portraits by Massys in the museums of Munich, Brussels, Antwerp, Chicago, and Philadelphia. Quentin's son, Jan Massys, c.1509?C1575, painted satirical and later more elegant works under French influence. Judith (Mus. of Fine Arts, Boston) is characteristic. Another son, Cornelis Massys, d. after 1560, was a landscape painter and engraver.   Related Paintings of Quentin Matsys :. | St John Altarpiece | St John Altarpiece | Ecce Homo | Madonna and Child with the Lamb. | St Anne Altarpiece |
Related Artists:
Carl Ludwig Christinec
1732/3 - 1792/94
Antonio Viladomat y Manalt
Spanish, 1678-1755,Spanish Catalan painter. He was the most significant figure in Catalan painting from the end of the 17th century to the first half of the 18th. He trained with P. B. Savall and J. B. Perram?n in Barcelona. The arrival of the Archduke Charles (later Charles VI) of Austria in Barcelona in 1703 as a pretender to the throne during the War of the Spanish Succession (1702-13), accompanied by such Italian artists as Ferdinando Galli-Bibiena, acquainted Viladomat y Manalt with artistic trends in Italy. He experienced problems with the artists' guild in Barcelona because of his refusal to participate in the traditional work system. Despite this, his workshop-academy became a centre for the training of numerous painters, sculptors and engravers. Viladomat y Manalt was principally a religious painter, and his oil paintings include Christ Appearing to St Ignatius of Loyola (c. 1711-20; Barcelona, Jesuit Convent) and St Augustine and the Holy Family (Madrid, Prado). He also painted such murals as the tempera Angels with the Sudarium (c. 1727; Matare, S Mar?a, Capilla de los Dolores), but most of the others have disappeared. He painted an extensive series of monastic and evangelical works, in which his revival of compositions characteristic of the Spanish Golden Age is apparent. Examples include the Stigmatization of St Francis (c. 1724; Barcelona, Mus. A. Catalunya), part of a cycle of paintings on the life of St Francis commissioned for the cloister of the convent of S Francisco de As?s in Barcelona. His late Baroque style is related to the severe and realistic trend in Spanish painting in the early 17th century. Some interesting profane allegories by the artist are extant, notably the series Four Seasons (c. 1720-30; Barcelona, Mus. A. Catalunya), which consists of landscapes with genre scenes. Several of the still-lifes by Viladomat y Manalt such as the realistic Still-life with Dead Turkey (Barcelona, Mus. A. Catalunya), which has strong contrasts of light, bear an affinity with Neapolitan painting of the last decades of the 17th century.
Rodolfo Amoedo
(born in Salvador, Bahia on December 11, 1857; died in Rio de Janeiro on May 31, 1941) was a Brazilian history painter. He began his career as an artist in 1873 as a student of Victor Meirelles. In 1878 he won the first prize at the Brazilian Academy, which allowed him to travel to Paris, where he lived from 1879 to 1887 studying at the École des Beaux Arts. He was a pupil of Alexandre Cabanel and also worked with Paul-Jacques-Aime Baudry. He was a professor and later director of the Brazilian Academy, renamed School of Fine Arts ou Escola Nacional de Belas Artes at the fall of the Brazilian Empire. His students include Eliseu Visconti. He died forgotten and so poor his friends had to help the widow pay for his funeral. His paintings still hang at the National Museum Museu Nacional de Belas Artes in Rio de Janeiro.