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 :. | Portrait of the Ferrara court jester Gonella | Guillaume Jouvenel des Ursins (mk05) | madonna och barn | st Martin From the Hours of Etienne Chevalier (mk05) | Charles VII King of France (mk05) |
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Maria Catharina Wiik
(b Helsinki, 2 Aug 1853; d Helsinki, 19 June 1928). Finnish painter. She studied in Paris at the Academie Julian from 1875 to 1876 under Tony Robert-Fleury and continued her studies with him in the same studio between 1877 and 1880. Her paintings appeared at the Salon for the first time in 1880 (e.g. Marietta, 1880; Helsinki, priv. col., see Katerma, p. 31). The realist techniques Wiik absorbed in Paris came to form the basis of her work, tranquil in composition and restrained in colour. Her favourite subjects were relatively small-scale portraits such as Hilda Wiik (1881; Helsinki, Athenaeum A. Mus.) and still-lifes (e.g. Still-life, c. 1880; Helsinki, Athenaeum A. Mus.). Like many other foreign painters Wiik went to Brittany to paint. In 1883-4 she worked in Concarneau and Pont-Aven, where her enthusiasm for plein-air painting brought immediacy to her work and greater brightness to her colours (e.g. Breton Farm, 1883; Naantali, Fereningen Hedvigsminne). She preferred to record her impressions in portraits, although she also painted small, light-filled landscapes. In 1889 Wiik worked under the direction of Puvis de Chavannes in Henri Bouvet's studio in Paris, and in the same year she visited St Ives where she painted, among others, two major works: Out in the World (Helsinki, Athenaeum A. Mus.) and the St Ives Girl (Helsinki, priv. col., see Katerma, p. 93). Both works show Wiik moving towards an ever more internalized and minimal mode of expression, thereby taking part in the process that led, in the 1890s, to a general abandonment of realism in favour of a greater emphasis on emotion. Out in the World, which shows an old woman's sad parting from a young girl who is leaving home to begin work, shows a change in technique with the use of more united colour surfaces and of tone painting. (This work was awarded a bronze medal at the Exposition Universelle in Paris in 1900.) During the 1890s and the early 20th century Wiik's travels were concentrated in Scandinavia, although she visited Paris in 1905.
Jan Baptist Weenix
(Amsterdam, 1621- Vleuten 1660), a painter of the Dutch Golden Age. Despite his relatively brief career, he was a very productive and versatile painter. His favourite subjects were Italian landscapes with large figures among ruins, seaside views, and, later in life, large still life pictures of dead game or dogs. He was mainly responsible for introducing the Italian harbour scene into Dutch art, in mid-size paintings with a group of figures in the foreground. Weenix was the son of an architect and born near Amsterdam's harbour. He could not speak well, apparently from a medical condition, and because he very much liked to read books, his mother sent him to work for a bookseller, who was not able to deal with him. He drew whenever he could, according to Jan Weenix his son, who told the story to Arnold Houbraken. Weenix first studied under Jan Micker, then in Utrecht under Abraham Bloemaert, and later back in Amsterdam under Claes Cornelisz. Moeyaert. In 1643 Weenix travelled to Rome with Nicolaes Pieterszoon Berchem. He had left his home secretly, but his wife, the daughter of Gillis d'Hondecoeter, traced him to Rotterdam. Then he was allowed to stay away for four months. In Rome he became a member of the Bentvueghels and was much esteemed and worked for Pope Innocent X. He returned to Amsterdam after four years; his wife had refused to come to Rome. In 1649 he became master of the guild of St. Luke in Utrecht and also painted a portrait of Rene Descartes. When his brother-in-law Gijsbert d'Hondecoeter died, he trained his nephew Melchior d'Hondecoeter, together with his own son Jan Weenix. Weenix moved to a castle outside Utrecht, to concentrate on his work or for health reasons, where he probably died in poor circumstances, at an unknown date. He painted a few religious scenes, one of the rare pieces of this kind being the "Jacob and Esau" (Gemäldegalerie Alte Meister, Dresden). In the National Gallery, London, is a "Hunting Scene" by Weenix, and Glasgow has a characteristic painting of ruins. Weenix is represented at most of the important continental galleries, notably at Munich, Vienna, Berlin, Amsterdam, and St Petersburg.
Jacob Gerritsz. Cuyp
was a portrait and landscape painter. He was born and died in Dordrecht, and was the half-brother of Benjamin Gerritsz Cuyp and the father of the much more famous Aelbert Cuyp. According to Houbraken, he helped the painters Jacques de Claeuw, Isaac van Hasselt, and Cornelis Tegelberg set up a Guild of Saint Luke in Dordrecht in 1642.