Italian painter, Venetian school (b. 1490, Pieve di Cadore, d. 1576, Venezia).   Related Paintings of TIZIANO Vecellio :. | Bacchus and Ariadne ar | Presentation of the Virgin at the Temple (detail) er | The Death of AikedeAn | Pope Alexander IV Presenting Jacopo Pesaro to St Peter nwt | Mater Dolorosa (with outstretched hands) aer |
Related Artists:
Johann Hermann Carmiencke
Johann Hermann Carmiencke, a landscape painter and etcher, was born at Hamburg in 1810. He went to Dresden in 1831 as a journeyman painter, and while there studied in Dahl's school. Thence he went to Copenhagen in 1834, where he studied in the Academy, and presently repairing to Leipsic, received instruction there from Sohonberg. Returning to Copenhagen in 1838, he proceeded to travel as an artist in Sweden, Bavaria, and the Tyrol, visiting Italy from 1845 to 1846. He was then appointed court painter to Christian VIII, for whom he executed many works. In consequence of the war, he went in 1851 to New York, where he was well received, and admitted into the Academy of Brooklyn. His works were mainly groups of mountain ranges, which were very effectively rendered, and possessed an excellent tone the execution being simple and true to nature. The 'Mountain Tarn' and the 'View on the Zillerthal' may be particularly noticed. There are thirty-five careful etchings of landscapes by him, some of which were published by the Art Association of Copenhagen in 1850 and 1851. He died at New York in 1867.
MASTER of Heiligenkreuz
Austrian Northern Renaissance Painter, 15th Century,was an Austrian painter active at the beginning of the fifteenth century; a tentative lifespan of 1395 to 1430 has been put forth, but this appears highly conjectural. His name is taken from a diptych that once belonged to the Cistercian Abbey of Heiligenkreuz, located in southeastern Austria near the present-day border with Hungary. The left panel depicts the Annunciation on the obverse; the reverse is a depiction of the Madonna and Child. The right panel depicts the Mystical Marriage of Saint Catherine, with Saint Dorothy on its reverse. Details of costume and iconography combine with associations with the International Style to indicate a date of around the first decade of the fifteenth century. It was initially proposed, by Betty Kurth in 1922, that the artist was French and had some association with the court in Paris. Other writers have disagreed, and various nationalities including French, Austrian, German, or Bohemian have been posited for the Master. Some have further suggested that he was an itinerant court artist, trained in France but active in Austria. Various clues have been used in an attempt to describe his nationality. These include his use of finely-worked gold decoration, in which some have seen a link to Franco-Burgundian goldsmith's work of the late fourteenth century. Others, instead, see it as a link to the school of panel painting then active at the court in Prague. Consequently, it seems highly unlikely that the artist's nationality will be conclusively established.
Jan Van Kessel
1626-1679 Dutch Jan Van Kessel Gallery Dutch painter and draughtsman. He was a follower, and probably a pupil, of Jacob van Ruisdael and covered the same range of subjects painted by Ruisdael, with the exception of marine paintings. However, van Kessel is best known for his townscapes and panoramic views, as exemplified by the Sluice and the New City Ramparts of Amsterdam in Winter (Amsterdam, Hist. Mus.) and the Bleaching Grounds near Haarlem (Brussels, Mus. A. Anc.). He imitated the water-mills and village scenes of his friend Meindert Hobbema, as well as the waterfalls of Allaert van Everdingen, the wooded landscapes of Jan Wijnants and the winter scenes of Jan van de Cappelle. Many of van Kessel's 120 surviving pictures, including The Avenue (Stuttgart, Staatsgal.) and the Ford in the Woods (Dresden, Gem?ldegal. Alte Meister), were once attributed to van Ruisdael and these other masters (often with an authentic signature covered by the better-known name). Van Kessel is also frequently confused with other minor artists in van Ruisdael's circle, especially Jan Vermeer van Haarlem the younger, Isaac Koene (1637/40-1713), Jacob Salomonsz. van Ruysdael (1629/30-1681) and Anthonie van Borssom. As a draughtsman, van Kessel emulated van Ruisdael's mature style, working almost exclusively in black chalk and grey wash. The best of his 70 drawings are townscapes, although his studies of trees and depictions of farmsteads are noteworthy. A number of correlations exist between his sketches and paintings. There is no known relationship with the Flemish artists of the same name.