The Master of Heiligenkreuz was an Austrian painter active at the beginning of the 15th century;[1] a tentative lifespan of 1395 to 1430 has been put forth[2] but this appears highly conjectural. His name is taken from a diptych that once belonged to the CistercianAbbey of Heiligenkreuz, located in southeastern Austria near the present-day border with Hungary.[1] The left panel depicts the Annunciation on the obverse; the reverse is a depiction of the Madonna and Child. The right panel depicts the Mystical Marriage of Saint Catherine, with Saint Dorothy on its reverse. Details of costume and iconography combine with associations with the International Style to indicate a date of around the first decade of the 15th century.[1]
It was initially proposed, by Betty Kurth in 1922, that the artist was French and had some association with the court in Paris.[1] Other writers have disagreed, and various nationalities including French, Austrian, German, or Bohemian have been posited for the Master. Some have further suggested that he was an itinerant court artist, trained in France but active in Austria.[1] Various clues have been used in an attempt to describe his nationality. These include his use of finely-worked gold decoration, in which some have seen a link to Franco-Burgundiangoldsmith's work of the late 14th century. Others, instead, see it as a link to the school of panel painting then active at the court in Prague. Consequently, it seems highly unlikely that the artist's nationality will be conclusively established.[1]
Stylistically, the Master's work is distinguished by use of some Gothic decorative elements, as well as oddly-proportioned figures with long, thin limbs and fingers.
Hieronymus Bosch was a Dutch/Netherlandish painter from Brabant. He is one of the most notable representatives of the Early Netherlandish painting school. His work, generally oil on oak wood, mainly contains fantastic illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell.
Robert Campin, now usually identified with the Master of Flémalle, was a master painter who, along with Jan van Eyck, initiated the development of Early Netherlandish painting, a key development in the early Northern Renaissance.
Heiligenkreuz Abbey is a Cistercian monastery in the village of Heiligenkreuz in the southern part of the Vienna woods, c. 13 km north-west of Baden in Lower Austria. It is the oldest continuously occupied Cistercian monastery in the world.
Bernard van Orley, also called Barend or Barent van Orley, Bernaert van Orley or Barend van Brussel, was a versatile Flemish artist and representative of Dutch and Flemish Renaissance painting, who was equally active as a designer of tapestries and, at the end of his life, stained glass. Although he never visited Italy, he belongs to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting, in his case especially by Raphael.
Early Netherlandish painting, traditionally known as the Flemish Primitives, refers to the work of artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period. 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.
David Teniers the Younger or David Teniers II was a Flemish Baroque painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history painting, genre painting, landscape painting, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians.
Stefan Lochner was a German painter working in the late International Gothic period. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence.
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.
Joos van Cleve was a leading painter active in Antwerp from his arrival there around 1511 until his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting, he combines the traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles.
Master Theodoric, in Latin Magister Theodoricus was a Bohemian painter. He is the best documented Bohemian Gothic painter. He was the favourite court painter of Charles IV, Holy Roman Emperor. and the first Bohemian painter whose name can be linked to a body of work. Theodoric is considered the chief representative of the phase of International Gothic known as "the Soft style". His masterpiece is the Chapel of the Holy Cross at Charles' newly completed Karlštejn Castle, near Prague, containing a large series of slightly over-lifesize half-length panel portraits of saints and other notable figures on a gold ground. The whole decoration of the chapel was commissioned in 1359 and completed over a number of years. The decoration of the Chapel of the Holy Cross was unique and unprecedented at the north of the Alps. Theodoric's oeuvre is not comparable to anything in European art after the mid-14th century (1360th).
Jan van de Venne or Jan van der Venne, also known as Pseudo van de Venne, was a Flemish painter of genre, religious scenes, and cabinets who was court painter to the governors of the Southern Netherlands. Many of his works depict "low-life" genre scenes of tooth-pullers, card-players and hurdy-gurdy players, tronies and expressive religious scenes.
The Nationality Rooms are a group of 31 classrooms in the University of Pittsburgh's Cathedral of Learning depicting and donated by the national and ethnic groups that helped build the city of Pittsburgh. The rooms are designated as a Pittsburgh History and Landmarks Foundation historical landmark and are located on the 1st and 3rd floors of the Cathedral of Learning, itself a national historic landmark, on the University of Pittsburgh's main campus in the Oakland neighborhood of Pittsburgh, Pennsylvania, United States. Although of museum caliber, 29 of the 31 rooms are used as daily classrooms by University of Pittsburgh faculty and students, while the other two are display rooms viewed through glass doors, utilized primarily for special events, and can only be explored via special guided tour. The Nationality Rooms also serve in a vigorous program of intercultural involvement and exchange in which the original organizing committees for the rooms remain as participants and which includes a program of annual student scholarship to facilitate study abroad. In addition, the Nationality Rooms inspire lectures, seminars, concerts exhibitions, and social events which focus on the various heritages and traditions of the nations represented. The national, traditional, and religious holidays of the nations represented are celebrated on campus and the rooms are appropriately decorated to reflect these occasions. The Nationality Rooms are available daily for public tours as long as the particular room is not being used for a class or other university function.
The Master of the Female Half-Lengths is the notname given to a painter, or more likely a group of painters of a workshop, active in the Low Countries in the early sixteenth century. The name was given in the 19th century to identify the maker or makers of a body of work consisting of 67 paintings to which since 40 more have been added. The Master created female figures in genre scenes, small religious and mythological works, landscapes and portraits.
Jan de Beer, formerly known as the Master of the Milan Adoration was a Flemish painter, draughtsman and glass designer active in Antwerp at the beginning of the 16th century. He is considered one of the most important members of the loose group of painters active in and around Antwerp in the early 16th century referred to as the Antwerp Mannerists. Highly respected in his time, he operated a large workshop with an important output of religious compositions.
The Master of the Legend of the Magdalen was an Early Netherlandish painter, active from about 1483 to around 1527. He has not been identified; his name of convenience is derived from a large, now-dispersed altarpiece with scenes from the life of Mary Magdalene, which has been dated to between 1515 and 1520 based on the costumes of the donor portraits. However other works attributed to him are extremely difficult to date with any accuracy. Many paintings have been linked with the triptych, which is thought to have been finished late in the artist's career. Other major works include his two Magdalen panels in London.
Limoges enamel has been produced at Limoges, in south-western France, over several centuries up to the present. There are two periods when it was of European importance. From the 12th century to 1370 there was a large industry producing metal objects decorated in enamel using the champlevé technique, of which most of the survivals, and probably most of the original production, are religious objects such as reliquaries.
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.
Czech art is the visual and plastic arts that have been created in the Czech Republic and the various states that formed the Czech lands in the preceding centuries. The Czech lands have produced artists that have gained recognition throughout the world, including Alfons Mucha, widely regarded as one of the key exponents of the Art Nouveau style, and František Kupka, a pioneer of abstract art.
Aert van den Bossche or the Master of the Crispinus and Crispinianus-Legend was an Early Netherlandish painter of altarpieces, active in Brussels and Bruges in the late 15th century. There is still doubt as to whether he should be identified with the Master of the legend of St. Barbara or was only one of the artists active in a workshop responsible for the works of that master.
Colart de Laon was a French painter.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
