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Sir Anthonis Mor, also known as Anthonis Mor van Dashorst and Antonio Moro, was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis or Mor van Dashorst, and as Antonio Moro, Anthony More, etc., but signed most of his portraits as Anthonis Mor.
Abraham Bloemaert was a Dutch painter and printmaker in etching and engraving. He was initially working in the style of the "Haarlem Mannerists", but in the 16th century altered his style in line with the new Baroque style that was then developing. He mostly painted history subjects and some landscapes. He was an important teacher, who trained most of the Utrecht Caravaggisti, at least for a period.
Gerard van Honthorst was a Dutch Golden Age painter who became known for his depiction of artificially lit scenes, eventually receiving the nickname Gherardo delle Notti. Early in his career he visited Rome, where he had great success painting in a style influenced by Caravaggio. Following his return to the Netherlands he became a leading portrait painter.
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.
The Sadeler family were the largest, and probably the most successful of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the Wierixes and Van de Passe family, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location. Altogether at least ten Sadelers worked as engravers, in the Spanish Netherlands, Germany, Italy, Bohemia and Austria.
Ferdinand Bol was a Dutch painter, etcher and draftsman. Although his surviving work is rare, it displays Rembrandt's influence; like his master, Bol favored historical subjects, portraits, numerous self-portraits, and single figures in exotic finery.
Jan Lievens was a Dutch Golden Age painter who was associated with his close contemporary Rembrandt, a year older, in the early parts of their careers. They shared a birthplace in Leiden, training with Pieter Lastman in Amsterdam, where they shared a studio for about five years until 1631. Like Rembrandt he painted both portraits and history paintings, but unlike him Lievens' career took him away from Amsterdam to London, Antwerp, The Hague and Berlin.
Flemish painting flourished from the early 15th century until the 17th century, gradually becoming distinct from the painting of the rest of the Low Countries, especially the modern Netherlands. In the early period, up to about 1520, the painting of the whole area is typically considered as a whole, as Early Netherlandish painting. This was dominated by the Flemish south, but painters from the north were also important. Dutch and Flemish Renaissance painting, of which Antwerp became the centre, covers the period up to about 1580 or later, by the end of which the north and south Netherlands had become politically separated. Flemish Baroque painting was especially important in the first half of the 17th century, dominated by Rubens.
Hendrick van Balen or Hendrick van Balen I was a Flemish Baroque painter and stained glass designer. Hendrick van Balen specialised in small cabinet pictures often painted on a copper support. His favourite themes were mythological and allegorical scenes and, to a lesser extent, religious subjects. The artist played an important role in the renewal of Flemish painting in the early 17th century and was one of the teachers of Anthony van Dyck.
Roelant Savery was a Flanders-born Dutch Golden Age painter.
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, and biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative and gave rise to important new genres. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer.
Cornelis Corneliszoon van Haarlem, Dutch Golden Age painter and draughtsman, was one of the leading Northern Mannerist artists in the Netherlands, and an important forerunner of Frans Hals as a portraitist.
Lucas Horenbout, often called Hornebolte in England (c.1490/1495–1544), was a Flemish artist who moved to England in the mid-1520s and worked there as "King's Painter" and court miniaturist to King Henry VIII from 1525 until his death. He was trained in the final phase of Netherlandish illuminated manuscript painting, in which his father Gerard was an important figure, and was the founding painter of the long and distinct English tradition of portrait miniature painting. He has been suggested as the Master of the Cast Shadow Workshop, who produced royal portraits on panel in the 1520s or 1530s.
Michael Sittow, also known as Master Michiel, Michel Sittow, Michiel, Miguel and many other variants, was a painter from Reval who was trained in the tradition of Early Netherlandish painting. For most of his life, Sittow worked as a court portrait painter, for Isabella of Castille, the Habsburgs and others in Spain and the Netherlands. He was one of the most important Flemish painters of the era.
The Master of James IV of Scotland was a Flemish manuscript illuminator and painter most likely based in Ghent, or perhaps Bruges. Circumstantial evidence, including several larger panel paintings, indicates that he may be identical with Gerard Horenbout. He was the leading illuminator of the penultimate generation of Flemish illuminators. The painter's name is derived from a portrait of James IV of Scotland which, together with one of his Queen Margaret Tudor, is in the Prayer book of James IV and Queen Margaret, a book of hours commissioned by James and now in Vienna. He has been called one of the finest illuminators active in Flanders around 1500, and contributed to many lavish and important books besides directing an active studio of his own.
The Kloosterkerk is a church on the Lange Voorhout in The Hague, Netherlands. The church and its accompanying monastery were first built in 1397. The church is known today as the church where Beatrix of the Netherlands occasionally attends services.
Sir Peter Paul Rubens was a Flemish artist and diplomat from the Duchy of Brabant in the Southern Netherlands. He is considered the most influential artist of the Flemish Baroque tradition. Rubens's highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasized movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp.
The Hours of Mary of Burgundy is a book of hours, a form of devotional book for lay-people, completed in Flanders around 1477. It was probably commissioned for Mary, the ruler of the Burgundian Netherlands and then the wealthiest woman in Europe. No records survive as to its commission. The book contains 187 folios, each measuring 22.5 by 15 centimetres. It consists of the Roman Liturgy of the Hours, 24 calendar roundels, 20 full-page miniatures and 16 quarter-page format illustrations. Its production began c. 1470, and includes miniatures by several artists, of which the foremost was the unidentified but influential illuminator known as the Master of Mary of Burgundy, who provides the book with its most meticulously detailed illustrations and borders. Other miniatures, considered of an older tradition, were contributed by Simon Marmion, Willem Vrelant and Lieven van Lathem. The majority of the calligraphy is attributed to Nicolas Spierinc, with whom the Master collaborated on other works and who may also have provided a number of illustrations.
The Boucicaut Master or Master of the Hours for Marshal Boucicaut was an anonymous French or Flemish miniaturist and illuminator active between 1400 and 1430 in Paris. He worked in the International Gothic style.
Rembrandt Harmenszoon van Rijn's The Abduction of Europa (1632) is one of his rare mythological subject paintings. The work is oil on a single oak panel and now located in the J. Paul Getty Museum. The inspiration for the painting is Ovid's Metamorphoses, part of which tells the tale of Zeus's seduction and capture of Europa. The painting shows a coastal scene with Europa being carried away in rough waters by a bull while her friends remain on shore with expressions of horror. Rembrandt combined his knowledge of classical literature with the interests of the patron in order to create this allegorical work. The use of an ancient myth to impart a contemporary thought and his portrayal of the scene using the High Baroque style are two strong aspects of the work.
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