John Singer Sargent
John Singer Sargent's Oil Paintings
John Singer Sargent Museum
Jan 12, 1856 - Apr 14, 1925, was an American painter.

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Albrecht Durer
The Adoration of the Trinity
1511(1511) Medium oil on linden cyf
ID: 92061

Albrecht Durer The Adoration of the Trinity
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Albrecht Durer The Adoration of the Trinity

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Albrecht Durer

b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.  Related Paintings of Albrecht Durer :. | Self-protrait in a Fur-Collared Robe | The Abduction on the Unicorn | Portrait of Barbara Durer | Michael Wolgemut | Hand Study with Bible - Drawing |
Related Artists:
jenny nystrom
född i Kalmar 13 juni 1854, död 17 januari 1946
Isaac Grunewald
Swedish, 1889-1946,was a Swedish-Jewish Expressionist painter born in Stockholm. Having studied at a Swedish art school, at age nineteen Gr??newald travelled to Paris to study under Henri Matisse. In 1909 he gained recognition in his homeland when he exhibited his work at Halldins konsthandel. He met Fauvist painter Sigrid Hjert??n, who had studied at the College of Crafts and Design in Stockholm, and encouraged her to return with him to study in Paris. Married in 1911, they became part of a group of Scandinavian artists known as "De Unga" (The Young Ones). The Crane (1915) by Isaac GrunewaldGrenewald and Hjerten regularly exhibited together at home and abroad and art historians now often cite them as being responsible for introducing modernism to Sweden. At a time in history when anti-Semitism was widespread and women in art were frowned upon, although widely known they were never fully accepted by the artistic community of the day and their works were often the subject of ridicule. Partly as a result of this, Isaac Grunewald had to supplement his income creating stage designs for the Royal Dramatic Theatre and the Royal Swedish Opera. He decorated the walls and ceiling of an auditorium (since renamed Grunewald Hall) at the Stockholm Concert Hall, site of the Nobel Prize ceremony, and the walls of the Matchstick Palace. The author of numerous essays on art, with his 1918 exhibit at Stockholm's Liljevalchs Konsthall Isaac Grunewald published his manifesto on Expressionism and opened his own art school. During the Second World War Grunewald worked at the renowned Rorstrand porcelain factory. His wife Sigrid Hjerten suffered from lifelong mental health problems frequently evidenced by anxiety and paranoia that resulted in her being hospitalized for extended periods in the 1930s. During the marriage the couple were frequently apart from each other for long periods and they separated permanently in 1937 and soon divorced. Isaac Grunewald remarried and in 1946 both he and his second wife were killed in an airplane crash. He is buried in Stockholm's Norra begravningsplatsen ("Northern Cemetery"). His 1912 self-portrait and his 1915 painting "The Singing Tree" appeared on Swedish postage stamps. Today, institutions such as the Arken Museum of Modern Art in Ishoj, Denmark rank Grunewald and Hjerten among the 20th Century's most important Scandinavian artists.
Jan van der Heyden
1637-1712 Dutch Jan Van Der Heyden Gallery Van der Heyden grew up in Gorcum, but the family moved to Amsterdam around 1650. They lived on Dam Square. As a young guy he witnessed the fire in the old townhall which made a deep impression on him. He later would describe or draw 80 fires in almost any neighborhood of Amsterdam. When he married in 1661 the family was living on Herengracht, the most fashionable canal in Amsterdam. In 1668 Cosimo II de' Medici bought one of his paintings, a view of the townhall with a manipulated perspective. Van der Heyden often painted country estates, like Goudestein, owned by Joan Huydecoper II. He was not good in drawing figures and used for his paintings a metal plate for bricks, a sponge or moss for the leaves. Johannes Lingelbach, Adriaen van de Velde und Eglon van der Neer assisted him drawing the figures. Jan van der Heyden also introduced the lamp post and in 1672 impoved the design of the fire engine. He died in wealth as the superintendent of the lighting and director of the (voluntary) firemen's guild at Amsterdam. Van der Heyden was a contemporary of the landscape painters Hobbema and Jacob van Ruisdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics. Until 1672 he painted in partnership with Adriaen van de Velde. After Adrian's death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century. Van der Heyden, who was perfect as an architectural draughtsman insofar as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or "moated granges," common in his native country. He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He could reproduce the rows of bricks in a square of Dutch houses sparkling in the sun, or stunted trees and lines of dwellings varied by steeples, all in light or thrown into passing shadow by moving cloud. He had the art of painting microscopically without loss of breadth or keeping. But he could draw neither man nor beast, nor ships nor carts; and this was his disadvantage. His good genius under these circumstances was Adrian van der Velde, who enlivened his compositions with spirited figures; and the joint labour of both is a delicate, minute, transparent work, radiant with glow and atmosphere.

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