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.James the Apostle | Prudentia | Self-Portrait | Hiob von seiner Frau verhohnt | Emperor Maximilian I |
Related Artists:
Simone Dei Crocifissi
Italian Painter , 1330-1399
BOSSE, Abraham
French Baroque Era Engraver, 1602-1676 Roughly 1600 etchings are attributed to him, with subjects including: daily life , religion, literature , history, fashion[8], technology, and science. Most of his output was illustrations for books, but many were also sold separately. His style grows from Dutch and Flemish art, but is given a strongly French flavour. Many of his images give fascinating and informative detail about middle and upper-class daily life in the period, although they must be treated with care as historical evidence. His combination of very carefully depicted grand interiors with relatively trivial domestic subjects was original and highly influential on French art, and also abroad ?? William Hogarth's engravings are, among other things, a parody of the style. Most of his images are perhaps best regarded as illustrations rather than art. Watercolour of a ball by Abraham Bosse, a similar subject to many of his most famous etchingsHe was apprenticed in Paris about 1620 to the Antwerp-born engraver Melchior Tavernier (1564?C1641), who was also an important publisher. His first etchings date to 1622, and are influenced by Jacques Bellange. Following a meeting in Paris about 1630, he became a follower of Jacques Callot, whose technical innovations in etching he popularised in a famous and much translated Manual of Etching(1645), the first to be published. He took Callot's highly detailed small images to a larger size, and a wider range of subject matter. Unlike Callot, his declared aim, in which he largely succeeded, was to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.
Henry Walton
British Painter , c 1746-1813 He studied in London under Johan Zoffany c. 1769, after which he completed his training at the Maiden Lane Academy. It was probably Zoffany who introduced Walton to the conversation piece, a genre in which he was to specialize. The Cricket Scene at Harrow School (1771; priv. col., see 1963 exh. cat., no. 1) reveals Walton's debt to Zoffany, but it also shows him to be an exceptional colourist and able to compose his figures with a sense of rare warmth and intimacy. By c. 1778, when he painted the Rev. Charles Tyrrell with his Family