Swedish 1860-1920 Swedish painter, etcher and sculptor. He was brought up by his grandparents at Mora. As he displayed a precocious talent for drawing he was admitted to the preparatory class of the Kungliga Akademi for de Fria Konsterna, Stockholm, at the age of 15. Dissatisfied with the outdated teaching and discipline of the Academy and encouraged by his early success as a painter of watercolour portraits and genre scenes (e.g. Old Woman from Mora, 1879; Mora, Zornmus.) Zorn left the Academy in 1881 to try to establish an international career. He later resided mainly in London but also travelled extensively in Italy, France, Spain, Algeria and the Balkans and visited Constantinople. However, he continued to spend most of his summers in Sweden.  Related Paintings of Anders Zorn :. | The Letter | marcus wallenberg | diskerskan | Unknow work 101 | mor och barn |
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Simon Marmion
(born c. 1425 at Amiens, France, died 24 or 25 December 1489, Valenciennes) was a French or Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands. Like many painters of his era, Marmion came from a family of artists, and both his father, Jean, and his brother Mille were painters. Marmion is recorded as working at Amiens between 1449 to 1454, and then at Valenciennes from 1458 until his death. He was patronized by Philip the Good, the Duke of Burgundy from 1454 when he was one of several artists called to Lille to work on the decorations for the Feast of the Pheasant. He was employed by several members of the ducal family, including Charles the Bold and Margaret of York. He was called "the prince of illuminators" by a near contemporary. Three years after his death his widow, Jeanne de Quaroube, married his pupil, the painter Jan Provoost, who on her death inherited the considerable Marmion estate. Although best known for his illuminated manuscripts, Marmion also produced portraits and other paintings, altarpieces, and decorative work. A famous double-sided altarpiece with several Scenes from the life of St Bertin is in the Gemäldegalerie, Berlin (with two sections in the National Gallery (London). There is a Mass of Saint Gregory in Toronto, and a Lamentation of Christ in the Metropolitan Museum of Art,three works in Philadelphia, and several others elsewhere. Stylistically he lies between his French and Flemish contemporaries, with a Flemish innovation in composition and landscape. His perspective is usually technically sound, but the proportions of his figures are often awkward, and their poses rather stiff.
Esaias Van de Velde
1591-1630 Dutch Esaias Van de Velde Gallery Painter, draughtsman and etcher. He probably received his earliest training from his father. It is also possible that he studied with the Antwerp painter Gillis van Coninxloo, who moved to Amsterdam in 1595 (ten years after Esaias father). He may also have trained with David Vinckboons, whose work shows similarities with that of Esaias. Esaias became a member of the Haarlem Guild of St Luke in 1612, the same year as Willem Buytewech and the landscape painter Hercules Segers. During this Haarlem period Esaias had two pupils, Jan van Goyen and Pieter de Neijn (1597-1639), but by 1618 he had moved with his family to The Hague, where he joined the Guild of St Luke in October of that year.
Raphael
Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.