Netherlandish Gothic Era Painter, ca.1355-1411 South Netherlandish painter. Broederlam's family, long-established in Ypres, provided three aldermen for the city and sided with the French Counts of Flanders against the Flemish populace. After a training that may have included contact with Jan Boudolf in Bruges before 1368 or Paris after 1370 and an extended visit to Italy, the artist became, by 1381, an official painter of the reigning count, Louis de M?le (reg. 1346-84), painting leather chairs, pennons and banners. On 13 May 1384, directly after Louis's death, he was appointed a valet de chambre to the count's heir, Philip the Bold, Duke of Burgundy.  Related Paintings of BROEDERLAM, Melchior :. | Annunciation and Visitation | The Presentation of Christ (detail) dfh | The Flight into Egypt (detail) dsf | The Annunciation qow | The Flight into Egypt vcd |
Related Artists:
Marmion, Simon
French-born Flemish Northern Renaissance Painter, ca.1425-1489 French illuminator and painter. He was trained in Amiens and established a productive workshop in Valenciennes, but at the end of his career appears to have had connections with manuscript painting in the southern Netherlands. Although no signed or documented works survive, many illuminated manuscripts and some panel paintings have been convincingly attributed to him and his workshop. On the basis of these he has been recognized as an important figure in the development of both French and Netherlandish painting.
Osip Braz
painted Portrait of Anton Pavlovich Chekhov in 1898
Philipp Otto Runge
German Romantic Painter, 1777-1810 ..German painter, draughtsman and theorist. He stands alongside Caspar David Friedrich as a leading figure in German Romantic painting even though his early death restricted his oeuvre to relatively few stages of development. The enduring prominence of philosophical and theoretical concerns suggests that further work would have contributed to the history of ideas as well as to that of art. Runge's greatest influence was on later, largely 20th-century artists and thinkers rather than on his immediate contemporaries. While 19th-century developments certainly bore out Runge's claim for a new, symbolic role for landscape,