Jan van Scorel was a Dutch painter, who played a leading role in introducing aspects of Italian Renaissance painting into Dutch and Flemish Renaissance painting. He was one of the early painters of the Romanist style who had spent a number of years in Italy, where he thoroughly absorbed the Italian style of painting. His trip to Italy coincided with the brief reign of the only Dutch pope in history, Adrian VI in 1522–23. The pope made him a court painter and superintendent of his collection of antiquities. His stay in Italy lasted from 1518 to 1524 and he also visited Nuremberg, Venice and Jerusalem. Venetian art had an important impact on the development of his style.
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.
Maarten van Heemskerck or Marten Jacobsz Heemskerk van Veen was a Dutch portrait and religious painter, who spent most of his career in Haarlem. He was a pupil of Jan van Scorel, and adopted his teacher's Italian-influenced style. He spent the years 1532–36 in Italy. He produced many designs for engravers, and is especially known for his depictions of the Wonders of the World.
Geertgen tot Sint Jans, also known as Geertgen van Haarlem, Gerrit van Haarlem, Gerrit Gerritsz, Gheertgen, Geerrit, Gheerrit, or any other diminutive form of Gerald, was an Early Netherlandish painter from the northern Low Countries in the Holy Roman Empire. No contemporary documentation of his life has been traced, and the earliest published account of his life and work is from 1604, in Karel van Mander's Schilder-boeck.
Agnolo di Cosimo, usually known as Bronzino or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, may refer to his relatively dark skin or reddish hair.
The Museum of Fine Arts is a museum in Heroes' Square, Budapest, Hungary, facing the Palace of Art.
Dieric Bouts was an Early Netherlandish painter. Bouts may have studied under Rogier van der Weyden, and his work was influenced by van der Weyden and Jan van Eyck. He worked in Leuven from 1457 until his death in 1475.
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.
Christ Crowned with Thorns is an oil on panel painting made in the 1530s by a follower of Hieronymus Bosch. It is now in the Monasterio de San Lorenzo at El Escorial, near Madrid, in Spain.
The Man of Sorrows is a 1532 painting by the Dutch Golden Age painter Maarten van Heemskerck in the collection of the Museum of Fine Arts, Ghent. It shows the Man of Sorrows.
The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.
The Allegory of Faith, also known as Allegory of the Catholic Faith, is a Dutch Golden Age painting by Johannes Vermeer from about 1670–1672. It has been in the Metropolitan Museum of Art in New York since 1931.
The Lamentation of Christ is an oil-on-panel painting of the common subject of the Lamentation of Christ by the Netherlandish artist Rogier van der Weyden, dating from around 1460–1463 and now in the Uffizi Gallery, Florence, Italy.
Lamentation (Pietà) is an oil painting on panel of the common subject of the Lamentation of Christ that is now regarded as by an artist in the "circle" of the Early Netherlandish painter Petrus Christus, rather than by Christus himself. It was painted in c. 1444, and is now in the Louvre in Paris.
The Master of Delft was a Dutch painter of the final period of Early Netherlandish painting, whose name is unknown. He may have been born around 1470. The notname was first used in 1913 by Max Jakob Friedländer, in describing the wings of a Triptych with the Virgin and Child with St Anne with the central panel by the Master of Frankfurt, which is now in Aachen. This has donor portraits of an identifiable family from Delft, that of the Burgomaster of Delft, Dirck Dircksz van Beest Heemskerck (1463–1545), with his wife and children.
The Lamentation of Christ is a painting of the common subject of the Lamentation of Christ by the painter and manuscript illuminator Gerard David, originally a wing of a now dismantled and lost altarpiece.
Crucifixion is a 1543 polyptych by the Dutch Mannerist painter Maarten van Heemskerck in Linköping Cathedral consisting of a taller triptych above a shorter triptych, resulting in six panels in the front and four in the back.
The Adoration of the Kings by the Early Netherlandish painter Gerard David is a painting in oil on panel, probably from after 1515, now in the National Gallery in London. The painted surface measures some 60 by 59.2 centimetres, and the panel is about 2 centimetres (0.79 in) larger in both dimensions. The panel comes from a dismantled altarpiece from which one other panel appears to survive, the Lamentation that is also in the National Gallery.
The Dead Christ Mourned is an oil painting on canvas of c. 1604 by Annibale Carracci. It was in the Orleans Collection before arriving in Great Britain in 1798. In 1913 it was donated to the National Gallery, London, which describes it as "perhaps the most poignant image in [its] collection of the pietà – the lamentation over the dead Christ following his crucifixion – and one of the greatest expressions of grief in Baroque art".
Lamentation of Christ is an Early Netherlandish panel painting made 1455–1460 by Flemish painter Dirk Bouts of the Lamentation of Christ. the picture was bequeathed to the Louvre Museum by Constant Mongé-Misbach in 1871, at which time it was misattributed to Rogier van der Weyden. It remains in that museum's collection as RF 1.
