Flemish Northern Renaissance Painter, ca.1485-1524  Related Paintings of Joachim Patinir :. | landscape with st.jerome | Landscape with the Rest on the Flight | Landscape with the Rest on the Flight | Races on that curses to Egypt | St Jerome in the Desert |
Related Artists:
Conrad Witz
1400-1446 German (Resident in Switzerland) Conrad Witz Gallery -6). German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art, while Witz pure tempera technique differs emphatically from the refined use of oil glazes that endows Netherlandish pictures with their jewel-like brilliance.
giorgio de chirico
Giorgio de Chirico (Italian pronunciation: [ˈdʒɔrdʒo deˈkiriko]; July 10, 1888 ?C November 20, 1978) was a pre-Surrealist and then Surrealist Italian painter born in Volos, Greece, to a Genoese mother and a Sicilian father. He founded the scuola metafisica art movement. His surname is traditionally written De Chirico (capitalized De) when it stands alone
Nash, Paul
English, 1889-1946 Painter, printmaker, designer, writer and photographer. Although he briefly attended the Slade School, London, in 1910, he was essentially self-taught. His first one-man show was held in 1912 at the Carfax Gallery, London, where he showed a set of shadowy landscapes and imaginative drawings that look back to the Pre-Raphaelites and late 19th-century illustration. Between 1910 and 1914 he paid little attention to Post-Impressionism and the modern movements in London.