German painter (b. 1465, Landshut, d. 1533, Landshut) German painter and woodcutter. An artist as ambitious as Lucas Cranach I, he became one of Germany's first accredited court painters, working for the Dukes of Landshut in the triangular area defined by Ingolstadt, Straubing and Munich. The son of a functionary working for the Dukes, he was probably first taught by a certain Sigmund Gleism?ller (c. 1449-1511). Hans Mair (Mair von Landshut), who had come from Augsburg and had settled in Landshut, seems to have prompted him to work as a journeyman in Augsburg. His acquisition of citizen's rights in Landshut in 1491 suggests he was a master by that date. Mair seemingly procured him a series of commissions between 1497 and 1499 from Prince Bishop Philipp of Freising (1480-1541). The only work to survive from this period, however, is the large panel of the Life of St Sigismund (1498) in Freising Cathedral. It retains the deep tones associated with Augsburg painting, and its shape, with a pointed arch at the top, must also have been developed in Augsburg. As in Mair's work, several scenes are assembled in the arch and the side sections, creating a cramped Late Gothic framing architecture,   Related Paintings of WERTINGER, Hans :. | Saint Sebastian | Earthenware Pot and Apples | daughter of Philippe II | Winter Landscape with Skaters and Bird Trap | Visiting grandfather |
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Jmw Turner
1775-1851 British landscape painter. The son of a barber, he entered the Royal Academy school in 1789. In 1802 he became a full academician and in 1807 was appointed professor of perspective. His early work was concerned with accurate depictions of places, but he soon learned from Richard Wilson to take a more poetic and imaginative approach. The Shipwreck (1805) shows his new emphasis on luminosity, atmosphere, and Romantic, dramatic subjects. After a trip to Italy in 1819, his colour became purer and more prismatic, with a general heightening of key. In later paintings, such as Sunrise, with a Boat Between Headlands (1845), architectural and natural details are sacrificed to effects of colour and light, with only the barest indication of mass. His compositions became more fluid, suggesting movement and space. In breaking down conventional formulas of representation, he anticipated French Impressionism. His immense reputation in the 19th century was due largely to John Ruskin's enthusiasm for his early works
Domenichino
1581-1641 Italian Domenichino Locations Italian painter and draughtsman. On the basis of his frescoes and altarpieces he became established as the most influential exponent of the 17th-century classical style. Through his critical analysis of the art of Raphael and Annibale Carracci he was influential in the creation of a modern canon of the ancients; and he was perhaps the most complete example of a 17th-century artist struggling to reconcile tradition with the demand for spectacle.
Ulrich Hubner
(17 June 1872 Berlin - 29 April 1932 Neubabelsberg) was a German painter. He was born into a family of artists, his academic training he received in 1892 in Karlsruhe with Robert Poetzelberger, Gustav Schönleber, and Carlos Grethe. He then studied at the private art school in Munich Friedrich Fehr. In 1899, he was a member of the Berlin Secession, and in 1906 and 1907 was on the board. In 1899, he won the prize for advertising designs for cooperative advertising by Ludwig and Otto Stollwerck Henkell. He painted in Berlin, Havel, and in the summers in Hamburg, Lebeck, Rostock and Travemende (where he had his principal residence from 1909 to 1912), and in particular, many harbor scenes. He showed at Kunstverein in Hamburg in 1910. Some of his works are in the Behnhaus Museum, in Lebeck, and Los Angeles County Museum of Art.