Flemish Northern Renaissance Painter, active 1480-1520  Related Paintings of MASTER of the Aix Annunciation :. | Mother | St Roch | Details of The Coronation of the Virgin | The Last Judgment Triptych | Bearded Woman |
Related Artists:
James Collinson
English Pre-Raphaelite Painter, 1825-1881 English painter. He was the son of a Nottinghamshire bookseller. He studied at the Royal Academy Schools, London, where he was a fellow student of Dante Gabriel Rossetti and William Holman Hunt. Although quiet and unobtrusive, he caught the attention of critics when he exhibited the Charity Boy De but at the Royal Academy in 1847 (sold London, Christie, 26 Oct 1979, lot 256). The painting was praised for its truthfulness and use of minute detail. It was admired by Rossetti, who sought out Collinson and befriended him. The following year saw the formation of the Pre-Raphaelite Brotherhood (PRB), which Rossetti invited Collinson to join. Around this date Collinson renounced Catholicism and became engaged to Christina Rossetti; possibly this influenced the other members of the PRB in favour of his election to their number. However, he was never a leading member of the Brotherhood.
John Constable
1776-1837 British John Constable Locations 1837). English painter and draughtsman. His range and aspirations were less extensive than those of his contemporary J. M. W. Turner, but these two artists have traditionally been linked as the giants of early 19th-century British landscape painting and isolated from the many other artists practising landscape at a time when it was unprecedentedly popular. Constable has often been defined as the great naturalist and deliberately presented himself thus in his correspondence, although his stylistic variety indicates an instability in his perception of what constituted nature. He has also been characterized as having painted only the places he knew intimately, which other artists tended to pass by. While the exclusivity of Constable approach is indisputable, his concern with local scenery was not unique, being shared by the contemporary Norwich artists. By beginning to sketch in oil from nature seriously in 1808, he also conformed with the practice of artists such as Thomas Christopher Hofland (1777-1843), William Alfred Delamotte, Turner and, particularly, the pupils of John Linnell. Turner shared his commitment to establishing landscape as the equal of history painting, despite widespread disbelief in this notion. Nevertheless, although Constable was less singular than he might have liked people to believe, his single-mindedness in portraying so limited a range of sites was unique, and the brilliance of his oil sketching unprecedented, while none of his contemporaries was producing pictures resembling The Haywain (1821; London, N.G.) or the Leaping Horse (1825; London, RA). This very singularity was characteristic of British artists at a time when members of most occupations were stressing their individuality in the context of a rapidly developing capitalist economy
Antonio Stom
Italian, 1688-1734