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• Title: Short Bio of Pieter Aertsen (1508/09-1575)
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  • like pure examples of these types, but which in fact have a religious
  • (Butcher's Stall with the Flight into Egypt,
• Title: Short Bio of Albrecht Altdorfer
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  • His training is unknown, but his early work was influenced by Cranach
  • personal. Most of his paintings are religious works, but he was one of
  • Regensburg. No architectural work by him is known, but his interest in
• Title: Short Bio of Altichiero (active 1372-84)
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  • whose contribution to the work is uncertain. Altichiero's gravity and
  • frescos in the Arena Chapel of Padua. But his pageant-like scenes with
• Title: Short Bio of Fra Angelico (c. 1400-55)
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  • ‘not an artist properly so-called but an inspired saint’
  • But even in the most lavishly decorative of them all — the
  • (he became Prior there in 1450), but his most famous works were painted
  • popularized the use of the name Angelico for him, but he says it is
  • but his beatification was not made official by the Vatican until 1984.
• Title: Short Bio of Balthasar Ast (1593/94-1657)
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  • exquisite that Bosschaert's, but his range was wider, his paintings often
• Title: Short Bio of Hans Baldung
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  • He probably trained with Dürer in Nuremberg, but
  • mainly in Strasburg, but from 1512 to 1517 he lived in Freiburg-im-Breisgau,
• Title: Short Bio of Federico Barocci (c. 1535-1612)
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  • His color harmonies are sharp but subtle and, although his paintings often
  • example, and his delight in fluttering draperies), but in his directness
• Title: Short Bio of Giovanni Bellini (1430?-1516)
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  • maturity but an individual style. He achieved a certain richness by layering
  • viewer can tell not only the season of the year but also almost the hour of
• Title: Short Bio of Abraham Beyeren
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  • in his day but now considered one of the greatest of still-life painters.
  • He initially specialized in fish subjects, but around the middle of
• Title: Short Bio of William Blake (1757-1827)
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• Title: Short Bio of Hieronymus Bosch
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• Title: Short Bio of Sandro Botticelli (Alessandro di Moriano Filipepi, 1444/5-1510)
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• Title: Short Bio of François Boucher (1703-1770)
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  • with the painter François Le Moyne but was most influenced by the
• Title: Short Bio of Dirk Bouts
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  • Apart from these, there are no documented works, but his style is highly
  • in landscapes of exquisite beauty. There is little action, but deep poetry
  • but the individuality of Bouts’ work transcends
• Title: Short Bio of Marie Bracquemond
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  • and 1880; but as a painter he was never really in sympathy with
  • dedicated to graphic art; but nothing came of it, largely because
• Title: Short Bio of Melchior Broederlam (active 1381-1409)
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  • from 1387. Documents show that he was a busy and versatile artist, but his
• Title: Short Bio of Agnolo Bronzino
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  • The origin of his nickname is uncertain, but possibly derived from his
• Title: Short Bio of Ford Brown
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  • craftsmanship and brilliant coloring, but is somewhat swamped by its social
• Title: Short Bio of Pieter Bruegel (about 1525-69)
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  • there. Returning home in 1553, he settled in Antwerp but ten years later
• Title: Short Bio of Hans Burgkmair
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  • in Nuremberg in introducing the new style. Like Dürer he contributed to
• Title: Short Bio of Alexandre Cabanel (1823-89)
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  • titillating (but supposedly chaste) nudes at which he excelled.
• Title: Short Bio of Gustave Caillebotte
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  • He was an engineer by profession, but also attended the Ecole des
• Title: Short Bio of Canaletto (Giovanni Antonio Canal)
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  • but he turned to topography during a visit to Rome in 1719-20, when he
• Title: Short Bio of Antoine Caron
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  • artistic personality, and his work reflects the refined but unstable atmosphere
  • of the works attributed to him may be by other hands, however, for French
• Title: Short Bio of Carracci (1557-1602)
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  • fame and learning'), but later changed its name to Academia degli Incamminati
  • illusionism was still to come in the work of Cortona and Lanfranco, but
  • as a pattern book of heroic figure design, but also as a model of technical
  • lively observation and free handling (The Butcher's Shop, Christ
  • but he was important mainly as a teacher and engraver. His systematic anatomical
  • but somewhat spiritless version of his brother's lively Classicism.
  • 1585-95, but near the end of his career he still produced remarkable paintings
  • held in Bologna in 1956 was a notable event), but Annibale has now regained
  • artist in his day, but after his early death was virtually forgotten, and
• Title: Short Bio of Mary Cassatt (1844-1926)
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  • critics and contributed not a little to the acceptance of Impressionism
  • by a certain lyrical effulgence and gentle, golden lighting, but by
  • Contributors:
• Title: Short Bio of Théodore Chassériau (1819-56)
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  • whose studio in Rome in entered when he was 11, but in the 1840s he conceived
  • d'Orsay, Paris, with allegorical scenes of Peace and War (1844-48), but
• Title: Short Bio of Petrus Christus
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  • but the figures have completely lost their dramatic impact.
• Title: Short Bio of Giovanni Cima
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  • has been called ‘the poor man's Bellini', but because of his calm and weighty
• Title: Short Bio of Clouet
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  • his son. He was celebrated in his lifetime, but no documented works survive.
  • Musée Condé, Chantilly) are attributed to him on fairly strong circumstantial
  • dominated French portraiture at this time, but the drawings are more personal
  • in 1541. His work is somewhat better documented than his father's, but
  • which has caused much confusion, and one of the finest works attributed
  • Diane de Poitiers, but is is more probably a likeness of Marie Touchet,
  • are also attributed to him.
• Title: Short Bio of John Constable (1776-1837)
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  • on but modifying in an individual way the tradition inherited from
  • but he makes me call for my great coat and umbrella.’
  • oils, but his finished pictures were produced in the studio.
• Title: Short Bio of Correggio (Antonio Allegri)
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  • Little is known of his life, but his paintings suggest under whom he may
  • in the dome of Parma Cathedral he used the same principle, but on a much
• Title: Short Bio of Piero Cosimo
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  • a spirit of low comedy about these delightful works, but in the so-called
• Title: Short Bio of Gustave Courbet (1819-77)
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  • in Ornans, France. He went to Paris in 1841, supposedly to study law, but he
• Title: Short Bio of Lucas Cranach (1472-1553)
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  • (he left in 1504), but in his period there he painted some of his finest
• Title: Short Bio of Cuyp
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  • as a portrait painter — his portraits of children are particularly fine — but
  • Aelbert was born and died at Dordrecht, but he seems to have travelled
  • ascribed to him, but his oeuvre poses many problems. He often signed
  • his paintings but rarely dated them, and a satisfactory chronology has
  • Cuyp had several imitators there, and some of the paintings formerly attributed
• Title: Short Bio of Edward d'Ancona
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  • Although he was a prolific pin-up artist who produced hundreds of enjoyable images, almost nothing is known about his background. He sometimes signed his paintings with the name "D'Amarie", but his real name appears on numerous calendar prints published from the mid 1930s through the mid 1950s, and perhaps as late as 1960.
• Title: Short Bio of Honoré Daumier
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  • but since his death recognition of his qualities as a painter has grown.
• Title: Short Bio of Gerard David
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  • He was born at Oudewater, now in southern Holland, but he worked mainly in
  • in 1494. At this time the economic importance of Bruges was declining, but it
  • His work — extremely accomplished, but conservative and usually rather
  • Most of his work was of traditional religious themes, but his best-known
• Title: Short Bio of Gustave Doré (1832-83)
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  • a rather naïve but highly spirited love of the
• Title: Short Bio of Dosso Dossi
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  • His early life and training are obscure, but Vasari's assertion that
  • with him, but there is insufficient evidence to know whether he made an
  • individual contribution.
• Title: Short Bio of Albrecht Dürer
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  • Albrecht Dürer. Began as an apprentice to his father in 1485, but his earliest
• Title: Short Bio of Adam Elsheimer
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  • in which figures predominate, but generally they are fused into a harmonious
  • of doubtful attribution), but although exquisitely executed they have a
• Title: Short Bio of Gil Elvgren
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  • architecture but soon realised that he loved painting more, for this reason
• Title: Short Bio of Henri Fantin-Latour (1836-1904)
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  • He is best known for his luxurious flower pieces, but he also painted several
• Title: Short Bio of Robert Feke
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  • portraits from his hand and about fifty more are reasonably attributed to him.
  • His works are somewhat lacking in characterization, but their strength and
• Title: Short Bio of Master Flémalle (active 1406-44)
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  • (active 1406-44), who was the leading painter of his day in Tournai but
  • the Werl altarpiece of 1438 in the Prado, a doubtful attribution — but it
  • but the influence of Claus Sluter is clear in the sculptural solidity
  • the Master of Mérode. However, the attribution of this painting has also been
• Title: Short Bio of Jean Fouquet (c. 1420-c. 1481)
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  • essays and Classical architecture of his subsequent works, but
• Title: Short Bio of Jean-Honoré Fragonard (1732-1806)
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  • but formed a particular admiration for
  • vogue, but in spite of the admiration and support of
  • Fragonard was a prolific painter, but he rarely dated his works and it is not
• Title: Short Bio of Art Frahm
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  • Art Frahm, yet another Chicago area artist and a likely Sundblom-shop graduate, compares favorably with such master technicians in oil as Elvgren. But his significance comes out of his defining roles in two seemingly opposite pin-up categories.
• Title: Short Bio of Lucian Freud
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  • Superrealist), but the subjectivity and intensity of his work has always
• Title: Short Bio of Caspar Friedrich
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  • Berlin), can be appreciated on one level as a bleak, winter scene, but the
• Title: Short Bio of Henry Fuseli
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  • but he originally trained as a priest; he took holy orders in 1761, but
  • but his work was generally neglected for about a century after his death
  • saw in him a kindred spirit. His work can be clumsy and overblown, but
• Title: Short Bio of Thomas Gainsborough
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  • time consisted mainly of heads and half-length, but he also painted some
  • the neighboring squires, but when in 1759 he moved to Bath, his new sitters
  • he is sometimes influenced by Rubens. But he was
  • his deathbed, and Reynolds paid posthumous tribute to his rival in his
• Title: Short Bio of Aert Gelder
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  • pupils, but also one of his most devoted followers, for he was the only
  • London), was long attributed to Rembrandt.
• Title: Short Bio of Gentile (c. 1370-1427)
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  • of his day, but most of the work on which his great contemporary reputation
  • in Italy. It is remarkable not only for its exquisite decorative beauty but
• Title: Short Bio of Domenico Ghirlandaio
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  • contemporary Botticelli), but he was an excellent
  • But he also had considerable skill in the management of complex compositions
  • features with ruthless realism, but has a remarkable air of tenderness.
• Title: Short Bio of Luca Giordano
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  • He began in the circle of Ribera, but his style became much more colorful
  • and mythological painter. He worked mainly in Naples, but also extensively
• Title: Short Bio of Giotto (c. 1267-1337)
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  • traditional religious subjects, but he gave these subjects an earthly,
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• Title: Short Bio of Hugo Goes
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  • a priory near Brussels as a lay-brother, but he continued to paint and
  • but this is combined with lucid organization of the figure groups and a
  • The other works attributed to Hugo include two large panels probably designed
• Title: Short Bio of Nuño Gonçalves
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  • hand survive, but there is a strong circumstantial evidence that he was
  • dry, but powerfully realistic, and the polyptych contains a superb gallery
• Title: Short Bio of Francisco Goya
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  • children, but only one — a son, Xavier — survived to adulthood.
  • serving the French, but his work was not favored by the new king. He was
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• Title: Short Bio of El Greco (1541-1614)
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  • He was known as El Greco (the Greek), but his real name was
  • but of all the Venetian painters
• Title: Short Bio of Jean-Baptiste Greuze
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  • He also wished to succeed as a history painter, but his Septimius Severus
  • 1804-05), but he died in poverty. His huge output is particularly well
• Title: Short Bio of Antoine-Jean Gros
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  • lies, but they are painted with such dramatic skill and panache that they
  • cannot but be admired on their own terms.
• Title: Short Bio of Francesco Guardi
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  • view-painter of the 18th century, but he produced work on a great variety
  • also over the dating), but if they are indeed by the latter, he too must
• Title: Short Bio of Willem Heda
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  • but Heda's work was usually more highly finished and his taste was more
• Title: Short Bio of Nicholas Hilliard
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  • also worked for James I, but after the turn of the century his position
  • (written in about 1600 but not published until 1912) Hilliard declared
  • the lyne without shadows showeth all to good jugment, but the shadowe without
  • lyne showeth nothing'. But while for Holbein a miniature was always a painting
  • paintings attributed to him are portraits of Elizabeth I in the National
• Title: Short Bio of Ando Hiroshige (1797-1858)
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  • innovative as that of the older master, but he captured, in a poetic,
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• Title: Short Bio of Meindert Hobbema
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  • of Jacob van Ruisdael. Some of his pictures are very like Ruisdael's, but
• Title: Short Bio of David Hockney (1937- )
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  • versatility of his work, but also on his colorful personality, which has
• Title: Short Bio of Hans Holbein (1465?-1524)
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  • kinds of items used by the royal household, from buttons to bridles to
• Title: Short Bio of Wassily Kandinsky (1866-1944)
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  • The Kandinsky pages were contributed by
• Title: Short Bio of Paul Klee
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  • group that contributed much to the development
  • Klee, but he also produced series of works that explore mosaic and other
  • applied. In 1931 he began teaching at Dusseldorf Academy, but he was
  • reflections on death and war, but his last painting,
• Title: Short Bio of Charles Le (1619-90)
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  • His importance in the history of French art is twofold: his contributions to
• Title: Short Bio of Claude Lorrain (1600-1682)
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  • countries. Claude, whose special contribution was the poetic rendering
  • but, especially in England, from the mid-18th to the mid-19th century.
• Title: Short Bio of Kasimir Malevich (1878-1935)
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  • manner, but by 1912 he was painting peasant subjects in a massive
  • as early as 1913, but Suprematist paintings were first made public
• Title: Short Bio of Andrea Mantegna (1431?-1506)
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• Title: Short Bio of Franz Marc
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  • particular contribution to introduce paradisiacal imagery that had
  • thirty-six, but not before he had created some of the most exciting
• Title: Short Bio of Henri Matisse (1869-1954)
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  • the elder of the two, but he was a slower and more methodical man
  • brilliant man — but his art was a respite, a reprieve, a comfort to him.
• Title: Short Bio of Alphonse Maureau
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  • still inexperienced, but whose vision is sane and who has a fine sense of the
• Title: Short Bio of Hans Memling (1430?-94)
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• Title: Short Bio of Jean-François Millet (1814-75)
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  • of tonal values, but his draughtsmanship had a monumentality
• Title: Short Bio of Amedeo Modigliani
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  • Today his graceful portraits and lush nudes at once evoke his name, but
• Title: Short Bio of Gustave Moreau (1826-1898)
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  • Romanticism, but Moreau went far beyond
  • Matisse, but his favorite was
• Title: Short Bio of Berthe Morisot
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  • b. Jan. 14, 1841, d. Mar. 2, 1895, exhibited in all but one
  • Contributors to this page:
• Title: Short Bio of Rowena Morrill
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  • was born into a mobile military family in 1944 and had the opportunity to travel widely as a child. She absorbed a diversity of cultures in such places as Japan, Italy and many parts of the United States, to which she nows attributes much of her inspiration.
  • Rowena began painting at age of twenty-three due to her restlessness as a military wife, but it wasn't long before her painting evolved from a part-time avocation to a full-time occupation. In the course of the next ten years she brought together her diverse experience, vivid imagination, inspiration and talent and developed the style and technique for which she is now so well known.
• Title: Short Bio of Bartolomé Murillo (1617-82)
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• Title: Short Bio of Pierre Patel (1605-1676)
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  • but worked in the manner of
• Title: Short Bio of Piero (1420?-92)
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  • geometry and mathematics and was known for his contributions in these fields.
  • his figures. Throughout his life he maintained his ties with Sansepolcro, but
  • mathematics. It is said, but not proved, that he lost his sight toward the
• Title: Short Bio of Odilon Redon (1840-1916)
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  • unhappy, but after undergoing a religious crisis in the early 1890s and
• Title: Short Bio of Pierre-Auguste Renoir (1841-1919)
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  • much hardship early in his career, but he began to achieve success
  • but the figures on the left are done in a crisper and drier style,
  • subjects, particularly nudes, but also pictures of young girls in
  • confined to a wheelchair), but he continued to paint until the end
• Title: Short Bio of Auguste Rodin (1840-1917)
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  • He applied three times to study at the renowned Ecole des Beaux-Arts but was
  • to the Paris Salon. It was rejected but later accepted under the title
• Title: Short Bio of Henri Rousseau (1844-1910)
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  • claimed to have seen service in Mexico, but this story seems to be
  • but it was the innocence and charm of his work that won him the
  • his experiences in Mexico, but in fact his sources were illustrated books
  • Rousseau was buried in a pauper's grave, but his greatness began to be
• Title: Short Bio of Peter Rubens
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  • escape religious persecution, but after his death (1587) the family moved
  • contemporary, Rembrandt. But if his roots lay in Italian classical art and
  • from the master's sketches. Rubens's personal contribution to the over 2,000
  • the turbulent drama of his earlier paintings but reflect a masterful command
• Title: Short Bio of Donald Rust
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  • Donald Rust was born in Erie, Pennsylvania in 1932. He began drawing and painting at a very early age and has never had the desire to be anything but a serious artist. His early work was directly influenced by his grandfather, Emil Rust, Gil Elvgren, Bob Toombs, and Norman Rockwell. However, he feels there has been no one single influence in his wildlife art and insists that all wildlife artists have affected his style.
  • For many years, Rusty's paintings concentrated on circus and portrait subjects; but recently, wildlife subjects have intrigued him more and more. His portraits include such prominent individuals as: Emmett Kelly Sr., Emmett Kelly Jr., Merle Evans (Ringling band leader), Norman Rockwell, and Molly Rockwell. In fact, D.L. Rust and Norman Rockwell used to correspond regularly and in one letter Rockwell emphasized that Rusty's artwork "is very good indeed."
  • Rusty's ability to capture nature lies between fantasy and reality. Realism is his style, but he wants to take the collector's imagination one step further. He is an artist sensitive to nature and its surroundings. The beauty of his artistic documentation is distinctly his own. Rusty takes us not just to a creative visual, but to a place and a story.
• Title: Short Bio of John Sargent (1856-1925)
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  • ‘an adroit performer'; but with
• Title: Short Bio of Georges Seurat (1859-1891)
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  • when looking at the entire work but making his paintings shimmer with
  • alone establish Seurat as a great master, but he will be remembered for his
• Title: Short Bio of Joshua Shaw
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  • Louisville, Kentucky), and a related but smaller view of the same site,
  • the Butler Institute painting seems less a portrait of a specific place
  • by these artists but also those developed by seventeenth-century Dutch
• Title: Short Bio of Paul Signac
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  • palette but applied it in dots that were to be blended by the viewer's eye.
• Title: Short Bio of Alfred Sisley
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  • sent him to London for a business career, but finding this unpalatable,
• Title: Short Bio of Yves Tanguy (1900-55)
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  • but his imagery is highly distinctive, featuring half marine and half
• Title: Short Bio of James Tissot
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  • costume pieces, but in about 1864 he turned with great success to scenes
  • (the archetypal Tissot model — beautiful but rather vacant), he
• Title: Short Bio of Jesse Trevino
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  • Hospital has become a San Antonio landmark. But tragedy almost deprived
• Title: Short Bio of Joseph Turner (1775-1851)
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  • boy received little schooling. His father taught him how to read, but this
  • travel but always alone. He still held exhibitions, but he usually refused to
  • Contributors:
• Title: Short Bio of Diego Velázquez (1599-1660)
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  • has directly or indirectly led painters to make original contributions to the
• Title: Short Bio of John Waterhouse (1849-1917)
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  • Early in his career he painted Greek and Roman subjects, but in the
  • but his handling of paint is quite different from theirs — rich and
• Title: Short Bio of Jean-Antoine Watteau (1684-1721)
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  • pilgrims embark but never arrive. The paintings represented impossible
  • a time in the residence of Crozat, but after a while he left to live in
  • Contributors:
• Title: Short Bio of Benjamin West (1738-1820,)
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  • figures as somewhat stiff, his colors harsh, and his themes uninspired, but
• Title: Short Bio of James Whistler (1834-1903)
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  • He settled in London in 1859, but often returned to France. His
  • made a name for himself, not just because of his talent, but also on
  • personality, being discreet and subtle, but the creed that lay behind it
  • He was a laborious and self-critical worker, but this is belied by
  • but the awarding of only a farthing's damages with no costs was in effect
  • but she died only eight years later. In his fifties Whistler began to