Italian High Renaissance Painter, ca.1430-1516 Giovanni Bellini (c. 1430 ?C 1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.  Related Paintings of BELLINI, Giovanni :. | Madonna and Child with Four Saints and Donator | Presentation at the Temple (detail) jl | St Jerome Reading in the Countryside | Dead Christ Supported by the Madonna and St John (Pieta) fd | Madonna and Child Blessing lpoojk |
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BOURSSE, Esaias
Dutch Baroque Era Painter, 1631-1672 He was the youngest son of immigrants from Wallonia. His parents, Jacques Boursse and Anna des Forest, married in 1618 in Amsterdam. We know nothing more about the education of Esaias Boursse, other than the fact that he travelled to Italy in about 1650 to study the great Renaissance examples. No reminders of those examples is to be found in his work. In the past art historians have tried to place him among Rembrandt's pupils. There is no objective evidence at all to prove this though. Maybe this opinion has been inspired by the fact that the painters were neighbours in the Sint Antoniebreestraat in Amsterdam (nowadays called Jodenbreestraat, still housing the Rembrandt House Museum). Boursse's financial position will not have been good, since in 1661 he sailed with the Verenigde Oostindische Compagnie, on the ship Amersfoort. It travelled to Ceylon (nowadays called Sri Lanka). Boursse drew the inhabitants, landscapes and city views, which have been preserved in an album which can be found in the print room of the Rijksmuseum Amsterdam. In 1663, the painter was back in Amsterdam. In 1672, Boursse sailed with Verenigde Oostindische Compagnie again. The Amersfoort set sail on October 24 and on November 16 Boursse died at sea. The life of Esaias Boursse is the story of a painter who could not earn a living by painting alone and therefore had to look for an alternative source of income. The fact that he was no exception is proven by the life stories of for example Jan Steen (who was also an innkeeper) and Johannes Vermeer (who was also an art dealer). A major difference though, is the fact that Steen and Vermeer had to feed and house a (large) family. Boursse seems to have remained unmarried and childless. Financially, Boursse's career was a success. He remains one of the highest paid artists in living memory.
Pieter Jansz. Saenredam
(June 9 1597 - buried May 31 1665) was a painter of the Dutch Golden Age, known for his distinctive paintings of whitewashed church interiors. Saenredam was born in Assendelft, the son of the Northern Mannerist printmaker and draughtsman Jan Pietersz Saenredam (1565-1607), a follower of Goltzius whose sensuous naked goddesses are in great contrast with the work of his son. In 1612 he moved to Haarlem, where he became a pupil of Frans de Grebber and lived for the rest of his life. In 1614 he became a member of the Haarlem Guild of St. Luke. He died in Haarlem. A contemporary of the painter-architects Jacob van Campen, Salomon de Bray, and Pieter Post, he is noted for his surprisingly modern paintings of church interiors, the great bulk of his production. Saenredam achieved this modern look by using very even light, subtlely modulated, and by removing detailed depiction of textures, in meticulously measured and drawn sketches. He would make these sketches in pencil, pen, and chalk, then and add in watercolor to help give the sketch texture and color. The sketches are detailed, conveying the interior atmosphere through the clever use of light and graduated shadows. Saenredam often deliberately omitted people and church furniture from work, thus focusing more attention on buildings and their architectural forms. Only after having made precise measurements, and precise sketches and drawings of the churches, he would take them to his studio where he started to create his paintings, often after a delay of many years. His emphasis on even light and geometry is brought out by comparing his works with those of the rather younger Emanuel de Witte, who included people, contrasts of light and such clutter of church furniture as remained in Calvinist churches, all usually ignored by Saenredam. Unlike de Witte's, Saenredam's views are usually roughly aligned with a main axis of the church.
FRANCIABIGIO
Italian High Renaissance Painter, 1484-1525 Italian painter. The son of a Milanese linen-weaver, he had completed his apprenticeship, in Florence, by 18 October 1504. His earliest documented works, for example a Piete (1506) for S Pancrazio, Florence, have not survived. According to Vasari, Franciabigio trained with Mariotto Albertinelli, in whose last work, the signed and dated Crucifixion (1506; Florence, Certosa del Galluzzo, Pin.), he painted the angels (Shearman). In December 1508 the names of Franciabigio and Andrea del Sarto, who sometime between autumn 1506 and 1509 set up a joint workshop, were entered in the registration book of the Arte de' Medici e Speziali, to which painters were required to belong. The Portrait of a Young Man (Paris, Louvre) dates from this period. The work, which was later enlarged, shows the subject half-length, leaning pensively against a balustrade, with strong areas of shadow around the eyes. This is the first in a series of male portraits typical of Franciabigio: the subjects, each of whom wears a hat, are mostly placed in front of a landscape, with their gaze fixed meditatively or piercingly on the onlooker. The religious works from this period, such as the Virgin and Child (1509; Rome, Pal. Barberini), also show a movement away from the style of Albertinelli and Raffaellino del Garbo and begin to reveal instead the influence of Leonardo, Michelangelo and, especially, Raphael. Yet Franciabigio's connection with Andrea del Sarto was the determining factor in his career. When in 1509 it was del Sarto who received the commission to complete the fresco cycle in the atrium of SS Annunziata, Florence, their relationship altered significantly.