Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s   Related Paintings of Sandro Botticelli :. | Pontormo,Portrait of Cosimo the Elder | Madonna and Child and Two Angels | Details of Primavera-Spring | Detail from the Adoraton of the Magi | Madonna and Child,with the Young St.John and Two Angels |
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Jan van Bijlert
Dutch Baroque Era Painter, ca.1597-1671 Dutch painter. He was the son of the Utrecht glass painter Herman Beerntsz. van Bijlert (c. 1566-before 1615). Jan must have trained first with his father but was later apprenticed to the painter Abraham Bloemaert. After his initial training, he visited France and travelled to Italy, as did other artists from Utrecht. Jan stayed mainly in Rome, where he became a member of the Schildersbent; he returned to Utrecht in 1624. In Rome he and the other Utrecht artists had come under the influence of the work of Caravaggio; after their return home, this group of painters, who became known as the UTRECHT CARAVAGGISTI, adapted the style of Caravaggio to their own local idiom. The Caravaggesque style, evident in van Bijlert's early paintings, such as St Sebastian Tended by Irene (1624; Rohrau, Schloss; see fig.) and The Matchmaker (1626; Brunswick, Herzog Anton Ulrich-Mus.), is characterized by the use of strong chiaroscuro, the cutting off of the picture plane so that the image is seen close-up and by an attempt to achieve a realistic rather than idealized representation.
Joachim Beuckelaer
1535-1574 Flemish Joachim Beuckelaer Galleries b Antwerp, c. 1534; dAntwerp, c. 1574). Flemish painter. He came from an Antwerp family of obscure painters and seems to have spent his entire life there. He trained in the studio of Pieter Aertsen, who in 1542 had married Beuckelaers aunt; he became an independent master and also married in 1560. His earliest known work dates from that year, and his development can be followed closely to 1570. The example of Beuckelaers master remained decisive throughout his career. Not only did he take over Aertsens new repertory of secular subjects, he also completely adopted his stylistic idiom and manner of painting, so that it can be difficult to distinguish the two hands. Beuckelaer was, however, by no means a slavish imitator, and as regards execution he fully bears comparison with Aertsen.
Pekka Halonen
Pekka Halonen (23 September 1865 - 1 December 1933) was a painter of Finnish landscapes and people. He was born in Lapinlahti. He lived with his family in a home and studio on Lake Tuusula in Järvenpää, Finland that he, himself, designed and named Halosenniemi. The beautiful and serene building is now a museum that includes original furnishings and Halonenes own art on the walls. There, on the shores of Lake Tuusula where Pekka Halonen resided, an artistse community developed and flourished, helping to develop a sense of Finnish national identity. Halosenniemi was designed with the two story studios of Paris in mind with high ceilings and tall windows in the studio and second floor living quarters accessible by a set of stairs and a balcony that overlooked the studio. Adjacent to the house, Halonen built a sauna and, in typical Finnish tradition, the sauna also served as a laundry. Halonen stated that he never painted for anyone but himself. He felt that eArt should not jar the nerves like sandpaper - it should produce a feeling of peace.e His father was a peasant from Lapinlahti. Halonen studied at the Art Society's drawing school in Helsinki. In 1890 he moved to Paris where he studied at the Academie Julian and later under Paul Gauguin. He died in Tuusula. There is a painting by Pekka Halonen in the post-impressionist section of the Museum of Fine Arts in Budapest, Hungary. Until May 2013 in the Groninger Museum, the Netherlands: Pekka Halonen, Eero Järnefeldt, Helene Schjerfbeck and Akseli Gallen Kallela in the exhibition 'Nordic Art: The Modern Breakthrough'.