French 1420-1479 Jean Fouquet Locations French painter and illuminator. He is regarded as the most important French painter of the 15th century and was responsible for introducing Italian Renaissance elements into French painting. Little is known of his life, and, apart from a signed self-portrait medallion (Paris, Louvre), his only authenticated work is the Antiquit?s judaeques (Paris, Bib. N., MS. fr. 247). A corpus of works by Fouquet has therefore been established on the basis of stylistic criteria, but its exact chronology is uncertain.  Related Paintings of Jean Fouquet :. | Self Portrait (mk05) | Pompey in the Temple of Jerusalem, by Jean Fouquet | The death of the Virgin, of The golden book of the gentleman | st Martin From the Hours of Etienne Chevalier (mk05) | The Melun Diptych |
Related Artists:
Anton Graff
1736-1813 Swiss Anton Graff Gallery Swiss painter, active in Germany. He was a pupil of Johann Ulrich Schellenburg (1709-95) in Winterthur and continued his training with Johann Jakob Haid in Augsburg between 1756 and 1765. He worked for the court painter Leonhard Schneider (1716-62) in Ansbach from 1757 to 1759, producing large numbers of copies of a portrait of Frederick the Great (probably by Antoine Pesne). This was an important step in furthering his career, as were the months he spent in Regensburg (1764-5) painting miniatures of clerics and town councillors. He was court painter to the Elector Frederick-Christian of Saxe-Weimar in Dresden from 1766 and taught at the Hochschule der Bildende K?nste there. In 1771 he travelled to Berlin, where he painted portraits of Jakob Mendelssohn, Gotthold Ephraim Lessing and J. G. Sulzer. Sulzer introduced him at court, which resulted in many commissions. He was invited several times to teach at the Akademie der K?nste in Berlin, but he remained in Dresden. He often travelled to Leipzig, and in summer he frequently went to Teplitz (now Teplice, Czech Republic) and Karlsbad (now Karlovy Vary, Czech Republic); he also worked in Berlin on several occasions and returned to Switzerland for visits.
Carl Schuch
(30 September 1846 - 13 September 1903) was an Austrian painter, born in Vienna, who spent most of his lifetime outside Austria, in Germany, Italy and France. He painted primarily still lifes and landscapes. During the period 1882-94 he was based in Paris, where he was greatly impressed by the work of Claude Monet whom he described as "the Rembrandt of plein-air painting" although he was attracted most of all to Rembrandt and the artists of the Barbizon school. In 1884 and 1885 he spent the summer months in the Netherlands, studying the Dutch old masters as well as the contemporary painters of the Hague School, and filling notebooks with detailed descriptions of the colors he observed in paintings that he admired. Of all the artists belonging to the circle around Wilhelm Leibl (called the Leibl-Kreis), Schuch was the most devoted to color. His work marks the transition from the realist tradition to the modern movement in Vienna, esthetically, however, it is far from contemporary trends, and from its means and ends, comparable to Paul Cezanne (Gottfried Boehm, referring to Arnold Gehlen).
PANTOJA DE LA CRUZ, Juan
Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes