Netherlandish Northern Renaissance Painter, ca.1450-1516, Flemish painter. His surname was originally van Aeken; Bosch refers to 's Hertogenbosch, where he was born and worked. Little is known of his life and training, although it is clear that he belonged to a family of painters. His paintings, executed in brilliant colors and with an uncanny mastery of detail, are filled with strangely animated objects, bizarre plants and animals, and monstrous, amusing, or diabolical figures believed to have been suggested by folk legends, allegorical poems, moralizing religious literature, and aspects of late Gothic art. Such works as the Garden of Earthly Delights (Prado) appear to be intricate allegories; their symbolism, however, is obscure and has consistently defied unified interpretation. Bosch clearly had an interest in the grotesque, the diabolical, the exuberant, and the macabre. He also may have been the first European painter to depict scenes of everyday life, although often with a strong element of the bizarre. King Philip II of Spain collected some of his finest creations. The Temptation of St. Anthony (Lisbon) and The Last Judgment were recurring themes. Other examples of his art may be seen in the Escorial and in Brussels. Examples of the Adoration of the Magi are in the Metropolitan Museum and in the Philadelphia Museum, which also has the Mocking of Christ. Bosch, who deeply influenced the work of Peter Bruegel the Elder, was hailed in the 20th cent. as a forerunner of the surrealists, and his work continues to influence many contemporary artists.   Related Paintings of Hieronymus Bosch :. | The Adoration of the Magi | Christ Mocked | Concert in the Egg | The Temptation of Saint Anthony. | Saint John the Baptist |
Related Artists:
Jacob Wessel
painted Portrait of Hieronim Florian Radziwiłł. in 1746
Carlo Saraceni
1580-1620 Italian Carlo Saraceni Galleries Carlo Saraceni (Venice 1579-Venice, 16 June 1620) was an Italian early-Baroque painter, whose reputation as a "first-class painter of the second rank" was improved with the publication of a modern monograph in 1968. Though he was born in Venice, his paintings are distinctly Roman in style; he moved to Rome in 1598, joining the Accademia di San Luca in 1607. He never visited France, though he spoke fluent French and had French followers and a French wardrobe. His painting, however, was influenced at first by the densely forested, luxuriantly enveloping landscape settings for human figures of Adam Elsheimer, a German painter resident in Rome; "there are few landscapes by Saraceni which have not been attributed to Elsheimer," Malcolm Waddingham observed, and Anna Ottani Cavina has suggested the influences may have travelled both ways. and Elsheimer's small cabinet paintings on copper offered a format that Saraceni employed in six landscape panels illustrating The Flight of Icarus; in Moses and the Daughters of Jethro and Mars and Venus. Saint Sebastian Castle Museum, PragueWhen Caravaggio's notorious Death of the Virgin was rejected in 1606 as an altarpiece suitable for a chapel of Santa Maria della Scala, it was Saraceni who provided the acceptable substitute, which remains in situ, the only securely dated painting of his first decade in Rome. He was influenced by Caravaggio's dramatic lighting, monumental figures, naturalistic detail, and momentary action (illustration, right), so that he is numbered among the first of the "tenebrists" or "Caravaggisti". Examples of this style can be seen in the candlelit Judith and the Head of Holofernes. Saraceni's matured rapidly between 1606 and 1610, and the next decade gave way to his fully mature works, synthesizing Caravaggio and the Venetians. In 1616?C17 he collaborated on the frescoes for the Sala Regia of the Palazzo del Quirinale. In 1618 he received payment for two paintings in the church of Santa Maria dell'Anima. The compositional details of his fresco of The Birth of the Virgin in the Chapel of the Annunciation of the church of Santa Maria in Aquiro are repeated in a panel on copper at the Louvre In 1620 he returned to Venice, where he died in the same year. He was so influential on the style of an anonymous still life painter working in Rome, that the man is known as "Pensionante del Saraceni"
Walter Withers
English-born Australian Painter, 1854-1914 was an Australian landscape artist and a member of the Heidelberg School of Australian impressionists. Withers was born at Handsworth, Staffordshire, the son of Edwin Withers. He showed an early desire to paint, but objection was made to this by his father. It is not known what occupation he followed in England, but in 1882 he arrived in Australia with the intention of going on the land. After working for about 18 months on a farm, Withers removed to Melbourne and obtained a position as draughtsman in a firm of printers. He then took up his painting again, and began to exhibit with the Victorian Academy of Arts afterwards merged in the Victorian Artists' Society. In 1887 Withers went to Europe. There he was married to Miss F. Flinn and studied for some months at the Academie Julian, Paris. He returned to Australia with his wife in June 1888 having been commissioned to do black and white work for Messrs Fergusson and Mitchell of Melbourne. His most important work in this way will be found in the illustrations to Edmund Finn's, The Chronicles of Early Melbourne. Withers settled down at first at Kew, a suburb of Melbourne, and then near Heidelberg on the other side of the river Yarra. He became friendly with Arthur Streeton, Charles Conder, Tom Roberts, Frederick McCubbin and other leading artists of the period. He began to sell a few pictures, but the collapse of the land boom put an end to his illustrative work. He obtained some work as a drawing and painting master in schools, and in 1891 opened a studio in Collins-street west, where he held his first private exhibition.