1566-1638 Flemish Joachim Wtewael Galleries Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest (from the imagination) and naer t leven (after life). Wtewaels activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate; he also painted several portraits, including a Self-portrait (1601; Utrecht, Cent. Mus.).  Related Paintings of Joachim Wtewael :. | Lot and His Daughter | Charity | Kitchen Scene | Charity | Mars and Venus Surprised by Vulcan. |
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Reinhold Begas
1831-1911 Berlin,was a German sculptor. Begas was born in Berlin to the painter Karl Begas. He received his early education (1846-1851) studying under Christian Daniel Rauch and Ludwig Wilhelm Wichmann. During a period of study in Italy, from 1856 to 1858, he was influenced by Arnold Bocklin and Franz Lenbach in the direction of a naturalistic style in sculpture. This tendency was marked in the group Borussia, executed for the facade of the exchange in Berlin, which first brought him into general notice. In 1861 Begas was appointed professor at the art school at Weimar, but retained the appointment only a few months. That he was chosen, after competition, to execute the statue of Schiller for the Gendarmenmarkt in Berlin, was a high tribute to the fame he had already acquired; and the result, one of the finest statues in the German metropolis, entirely justified his selection. Since the year 1870, Begas dominated the plastic art in the Kingdom of Prussia, but especially in Berlin. Among his chief works during this period are the colossal statue of Borussia for the Hall of Glory; the Neptune fountain in bronze on the Schlossplatz; the statue of Alexander von Humboldt, all in Berlin; the sarcophagus of Emperor Frederick III in the mausoleum of the Church of Peace at Potsdam
CATENA, Vincenzo
Italian Painter, ca.1480-1531 His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena's are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits.
Raimundo de Madrazo y Garreta
Spanish realist Painter , 1841-1920 Son of Federico de Madrazo y K?ntz. Because of his ability and training with his father, Federico, in the Real Academia de S Fernando in Madrid and with L?on Cogniet in Paris, he seemed destined to continue the family tradition of academic painting. However, due to the influence of the Belgian Alfred Stevens, of his brother-in-law, Mariano Jos? Bernardo Fortuny y Marsal, and the Parisian environment, he exchanged dry historical painting (e.g. Arrival in Spain of the Body of the Apostle St James, 1858, and Ataulfo, 1860) for the preciousness of the tableautin, the small, intimate genre painting. He lived in Paris and New York and became so remote from Spanish artistic life that he and Fortuny y Marsal were the only Spanish artists not to participate in any national exhibition, and because of this the Spanish state never directly acquired their works. In 1882, with Giuseppe De Nittis, Stevens and the gallery owner Georges Petit, he co-founded the Exposition Internationale de Peinture, designed to promote foreign artists in Paris. Madrazo Garreta's most characteristic works are the female portrait and the witty and elegant genre painting, with soft, delicate tones and suggestive poses. The influence of the Rococo and of Japanese art is reflected in his painting, which expresses an exquisite aristocratic or bourgeois ideal, the illusion of a refined, sensual and superficial life. Consequently,