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 :. | St Philip | Adam and Eve | The Church of St.John | Deposition | Jakob Muffel |
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Pontormo, Jacopo
b Pontormo, nr Empoli, 26 May 1494; d Florence, 31 Dec 1556). Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter. His highly personal style was much influenced by Michelangelo
William Henry Furness
(1802-1896) was an American clergyman, theologian, reformer and abolitionist. Following the American Civil War, he raised funds for Black schools in the South, including Morehouse College. A graduate of the Theological Department of Harvard University, Furness became the Minister of the First Unitarian Church of Philadelphia at the age of 22. A close friend of Ralph Waldo Emerson, Furness presided over a period marked by the growth and increasing prosperity for First Church. A fiery abolitionist, Furness was a supporter of the rights of all segments of society, including African-Americans and Jews. He also lived to see the construction of the current church building in 1885 in the role of Minister Emeritus. Rev. Furness was the father of painter William Furness, Shakespearean scholar Horace Howard Furness, architect Frank Furness, and author and translator Annis Furness Lee.
Jean Delville
Belgian Symbolist Painter, 1867-1953 Belgian painter, decorative artist and writer. He studied at the Academie Royale des Beaux-Arts, Brussels, with Jean-Franeois Portaels and the Belgian painter Joseph Stallaert (1825-1903). Among his fellow students were Eugene Laermans, Victor Rousseau and Victor Horta. From 1887 he exhibited at L Essor, where in 1888 Mother (untraced), which depicts a woman writhing in labour, caused a scandal. Although his drawings of the metallurgists working in the Cockerill factories near Charleroi were naturalistic, from 1887 he veered towards Symbolism: the drawing of Tristan and Isolde (1887; Brussels, Musees Royaux B.-A.), in its lyrical fusion of the two bodies, reveals the influence of Richard Wagner. Circle of the Passions (1889), inspired by Dante Alighieri Divina commedia, was burnt c. 1914; only drawings remain (Brussels, Musees Royaux B.-A.). Jef Lambeaux copied it for his relief Human Passions (1890-1900; Brussels, Parc Cinquantenaire). Delville became associated with Josephin Peladan, went to live in Paris and exhibited at the Salons de la Rose+Croix, created there by Peladan (1892-5). A devoted disciple of Peladan, he had his tragedies performed in Brussels and in 1895 painted his portrait (untraced). He exhibited Dead Orpheus (1893; Brussels, Gillion-Crowet priv. col.), an idealized head, floating on his lyre towards reincarnation, and Angel of Splendour (1894; Brussels, Gillion-Crowet priv. col.), a painting of great subtlety.