Gerard David was an Early Netherlandish painter and manuscript illuminator known for his brilliant use of color. Only a bare outline of his life survives, although some facts are known. He may have been the Meester gheraet van brugghe who became a master of the Antwerp guild in 1515. He was very successful in his lifetime and probably ran two workshops, in Antwerp and Bruges. Like many painters of his period, his reputation diminished in the 17th century until he was rediscovered in the 19th century.
Jan van Eyck was a Flemish painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art. According to Vasari and other art historians including Ernst Gombrich, he invented oil painting, though most now regard that claim as an oversimplification.
Quentin Matsys (1466–1530) was a Flemish painter in the Early Netherlandish tradition. He was born in Leuven. There is a tradition alleging that he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. He is regarded as the founder of the Antwerp school of painting, which became the leading school of painting in Flanders in the 16th century. He introduced new techniques and motifs as well as moralising subjects without completely breaking with the tradition.
Events from the year 1519 in art.
Adriaen Isenbrandt or Adriaen Ysenbrandt was a painter in Bruges, in the final years of Early Netherlandish painting, and the first of the Dutch and Flemish Renaissance painting of the Northern Renaissance. Documentary evidence suggests he was a significant and successful artist of his period, even though no specific works by his hand are clearly documented. Art historians have conjectured that he operated a large workshop specializing in religious subjects and devotional paintings, which were executed in a conservative style in the tradition of the Early Netherlandish painting of the previous century. By his time, the new booming economy of Antwerp had made this the centre of painting in the Low Countries, but the previous centre of Bruges retained considerable prestige.
Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568–Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
Hugo van der Goes was one of the most significant and original Flemish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. From 1483 onwards, the presence of his masterpiece, the Portinari Triptych, in Florence played a role in the development of realism and the use of colour in Italian Renaissance art.
Petrus Christus was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with linear perspective and a meticulous technique which seems derived from miniatures and manuscript illumination. Today, some 30 works are confidently attributed to him. The best known include the Portrait of a Carthusian (1446) and Portrait of a Young Girl ; both are highly innovative in the presentation of the figure against detailed, rather than flat, backgrounds.
Justus van Gent or Joos van Wassenhove was an Early Netherlandish painter, perhaps from Ghent, who after training and working in Flanders later moved to Italy where he worked for Federico da Montefeltro, duke of Urbino, and was known as Giusto da Guanto, or in modern Italian Giusto di Gand etc. The artist is known for his religious compositions executed in the early Netherlandish idiom and a series of portraits of famous men, which show the influence of early Italian Renaissance painting.
Simon Bening was a Flemish miniaturist, generally regarded as the last major artist of the Netherlandish tradition.
Cornelis Schut was a Flemish painter, draughtsman, engraver and tapestry designer who specialized in religious and mythological scenes. Presumed to have trained under Rubens, he treated Counter-Reformation subjects in a High-Baroque style. After a stay in Italy, he worked mainly in Antwerp where he was one of the leading history painters in the first half of the 17th century.
The art of the Low Countries consists of painting, sculpture, architecture, printmaking, pottery, and other forms of visual art produced in the Low Countries, and since the 19th century in Belgium in the southern Netherlands and the Netherlands in the north.
Alexander van Bredael was a Flemish painter known for Italianate landscapes and genre scenes of fairs, cattle markets and villages. He was a prominent member of the Antwerp artistic family van Bredael.
Ambrosius Benson was an Italian painter who became a part of the Northern Renaissance.
Saint Luke Drawing the Virgin is a large oil and tempera on oak panel painting, usually dated between 1435 and 1440, attributed to the Early Netherlandish painter Rogier van der Weyden. Housed in the Museum of Fine Arts, Boston, it shows Luke the Evangelist, patron saint of artists, sketching the Virgin Mary as she nurses the Child Jesus. The figures are positioned in a bourgeois interior which leads out towards a courtyard, river, town and landscape. The enclosed garden, illusionistic carvings of Adam and Eve on the arms of Mary's throne, and attributes of St Luke are amongst the painting's many iconographic symbols.
François Duchatel or du Chastel (1616/1625–1679/1694) was a Flemish painter who worked in Brussels and possibly also in Paris. He is known for his portraits, including of children and groups and genre paintings, including of peasant subjects, tavern interiors and guardroom scenes. He also painted a few large views of historical events and religious scenes.
Andrew Halyburton or Haliburton was a Scottish merchant.
Lieven van Lathem (1430–1493), was an Early Netherlandish painter and manuscript illuminator.
Bartholomeus de Momper (I) or Bartholomeus de Momper the Elder (Antwerp, 1535 – Antwerp, between 1595-1597) was a Flemish publisher, printer, draughtsman and art dealer. He was a member of de Momper family, a prominent family of landscape painters and printmakers, originally from Bruges, which had settled in Antwerp in the 16th century.
Jerome, Hieronimo, or Girolamo Frescobaldi was an Italian financier and textile merchant based in Bruges. He supplied luxury goods to the Scottish court and was described as a "very good friend to the King of Scots". The Frescobaldi family and company, based in Florence, were involved in artistic commissions in England and Scotland. Jerome Frescobaldi was involved in the wool trade with Tommaso Portinari and his sons, and marketed spices obtained by Portuguese traders.
