French 1480-1500 Master of Moulins Gallery Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family. Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perr??al and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.  Related Paintings of Master of Moulins :. | Pierre de Bourbon and his Patron Saint | The Nativity of Cardinal Jean Rolin (mk08) | Anne de France, Wife of Pierre de Bourbon | The Meeting of Saints Joachim and Anne at the Golden Gate | Portrait of Charles II of Bourbon |
Related Artists:
Francesco Parmigianino
1503 ~ 1540,Italian painter, draughtsman and printmaker. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn. There he executed few large-scale works but was introduced to printmaking. After the Sack of Rome in 1527, he returned to northern Italy, where in his final decade he created some of his most markedly Mannerist works. Equally gifted as a painter of small panels and large-scale frescoes both sacred and profane, he was also one of the most penetrating portrait painters of his age. Throughout his career he was a compulsive draughtsman, not only of preparatory studies for paintings and prints, but also of scenes from everyday life and of erotica.
BRUEGEL, Pieter the Elder
Flemish Northern Renaissance Painter, ca.1525-1569 (born c. 1525, probably Breda, duchy of Brabant ?? died Sept. 5/9, 1569, Brussels) Greatest Netherlandish painter of the 16th century. Not much is known of his early life, but in 1551 he set off for Italy, where he produced his earliest signed painting, Landscape with Christ and the Apostles at the Sea of Tiberias (c. 1553). Returning to Flanders in 1555, he achieved some fame with a series of satirical, moralizing prints in the style of Hiëronymus Bosch, commissioned by an Antwerp engraver. He is best known for his paintings of Netherlandish proverbs, seasonal landscapes, and realistic views of peasant life and folklore, but he also took a novel approach to religious subject matter, portraying biblical events in panoramic scenes, often viewed from above. He had many important patrons; most of his paintings were commissioned by collectors. In addition to many drawings and engravings, about 40 authenticated paintings from his enormous output have survived. His sons, Peter Brueghel the Younger and Jan, the Elder Brueghel (both of whom restored to the name the h their father had abandoned), and later imitators carried his style into the 18th century.
Michael Ancher
Danish Painter, 1849-1927 He studied at the Kongelige Akademi for de Sk?nne Kunster, Copenhagen (1871-5), where his teachers Wilhelm Marstrand and Frederik Vermehren encouraged his interest in genre painting. He first visited Skagen in 1874 and settled there in 1880, having found that subject-matter drawn from local scenery was conducive to his artistic temperament. In Will he Manage to Weather the Point? (1880; Copenhagen, Kon. Saml.) several fishermen stand on the shore, evidently watching a boat come in. The firmly handled composition focuses on the group of men (the boat itself is invisible); each figure is an individual portrait that captures a response to the moment. Ancher's skill at grouping large numbers of figures with heroic monumentality compensates for his lacklustre colour sense. A change in his use of colour is noticeable in the works produced after an influential visit to Vienna in 1882; he was deeply impressed by the Dutch Old Masters at the Kunsthistorisches Museum, especially the Vermeers. Their effect on his painting can be seen in the Sick Girl (1883),