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Lament over the Dead Christ (1526–1530) |
Sant'Eufemia Altarpiece (1526–1530) |
Supper at Emmaus (c. 1526) |
Madonna and Child with Saint Roch and Saint Sebastian (c. 1528) |
Assumption Altarpiece (1529–1530) |
St Anthony of Padua with Two Saints (1530) |
Saint Anthony Abbot (1530–1534) |
St Justina of Padua with a Donor (c. 1530) |
Madonna and Child with Saint Martin and Saint Catherine (c. 1530) |
Massacre of the Innocents (1531–1532) |
Coronation of the Virgin Altarpiece (c. 1534) |
The Deaf-Mute Filippo Viotti's Vision of the Virgin Mary (c. 1534) |
Annunciation (1535–1540) |
The Assassination of Saint Peter Martyr (1535–1540) |
Portrait of a Gentleman with a Letter (1535–1540) |
Chiesa di San Giovanni Evangelista Organ Case (c. 1535) |
Madonna and Child Enthroned with Saints (1536–1537) |
Rovelli Altarpiece (1539) |
Adoration of the Shepherds with Saints Nazarius and Celsus (1540) |
Salomé (1540) |
Madonna and Child with Saints (Verona, 1540) |
Pralboino Altarpiece (1540–1545) |
Christ in Glory with Saint Peter and Saint Paul (c. 1540) |
Christ with the Eucharist and Saints Cosmas and Damian (c. 1540) |
Madonna and Child with Four Doctors of the Church (c. 1540–1545) |
Madonna and Child with Saints (London, c. 1540–1545) |
Madonna and Child with an Angel (c. 1540–1550) |
Christ with Moses and Solomon (1541–1542) |
Portrait of Fortunato Martinengo Cesaresco (1542) |
Luzzago Altarpiece (1542) |
Mystic Marriage of Saint Catherine (c. 1543) |
Pentecost (1543–1544) |
Madonna and Child with Four Saints (c. 1543) |
Supper in the House of Simon the Pharisee (1544) |
Portrait of an Ecclesiastic (c. 1545) |
Christ with the Eucharist and Saints Bartholomew and Roch (c. 1545) |
Christ and the Angel (c. 1550) |
References |
Sources |
Freedberg, Sydney J. (1993). Painting in Italy, 1500–1600. Penguin Books. pp. 367–373. |
Hartt, Frederick, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104 |
Penny, Nicholas (2004). The sixteenth century Italian paintings. Vol. I. London: National Gallery Co. ISBN 1-85709-908-7. OCLC 57388272. |
Further reading |
Federico Nicoli Cristiani (1807). Della Vita delle pitture di Lattanzio Gambara; Memorie Storiche aggiuntevi brevi notizie intorno a' più celebri ed eccelenti pittori Bresciani. Spinelli e Valgiti, Brescia. pp. 139–141. |
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Brescia (see index) |
Media related to Moretto da Brescia at Wikimedia Commons |
Moritz Michael Daffinger (25 January 1790 – 21 August 1849) was an Austrian miniature painter and sculptor. |
Life |
Daffinger was born in Vienna, the son of Johann Daffinger (1748–1796), a painter at the local Vienna Porcelain Manufactory. The eleven-year-old likewise was accepted as an apprentice and later went on to study at the Academy of Fine Arts, where he took painting lessons with Heinrich Füger. He returned to work at the factory as one of its leading painters. |
From 1809 he worked only on portraits, specializing in miniature painting on ivory, and small gouaches on paper. In 1812, he was employed as a portraitist by the Austrian Foreign Minister, Klemens von Metternich, and became curator of the extensive portrait collection of Metternich's third wife, Princess Melanie. |
In 1819, he painted a portrait of Metternich's daughter, Klementine, posed as the goddess Hebe. He was influenced by Jean-Baptiste Isabey and even more strongly by the English portrait painter Thomas Lawrence, who visited Vienna in 1819. In his late years, he concentrated on the painting of flowers. |
Daffinger died in 1849 during a cholera epidemic in Vienna and was buried in the St. Marx Cemetery. In 1912, his remains were transferred to a grave of honor (German: Ehrengrab) in the Vienna Zentralfriedhof. Daffinger left more than a thousand portraits, many of which were owned by the Austrian imperial House of Habsburg-Lorraine. |
His portrait graced the obverse of the Austrian 20-schilling banknote that circulated until the introduction of the euro in 1999. |
Gallery |
References |
External links |
Media related to Moritz Daffinger at Wikimedia Commons |
Nicolaas Verkolje or Vercolje (11 April 1673, Delft – 21 January 1746, Amsterdam), was a Dutch painter and mezzotinter. |
He specialized in history pieces and portraits in a classicistic style. |
Biography |
He was the son of Jan Verkolje and according to Arnold Houbraken the only one of five children to carry on his art (which was a mistake). Houbraken had intended to compose a biographical sketch of Nicolaas, yet he never reached that point, as he died before the publication of Volume III, which was written in order of birth year. According to the RKD both he and his brother Jan II became painters, having learned painting and engraving from their father. Nicolaes Verkolje was influenced by Antoine Coypel, Gérard de Lairesse, Godfried Schalcken, Gerard Dou, Adriaen van der Werff and Gabriel Metsu whose paintings he copied on commission. At the beginning of the 18th century, Verkolje merged these two developments by going back to biblical and mythological themes and dynamic compositions. His velvet touch, beautiful colour combinations and eye for detail make even the most dramatic stories accessible and easy on the eye for the viewer. |
After 1700 he lived at Prinsengracht 333 with his wife and three children. Nicolaas became the teacher of Jan Matthias Kok, Jan Maurits Quinkhard, Arnout Rentinck and Gerrit Zegelaar. In 1722, Verkolje requested three persons to assist his wife Anna Maria Wulffingh with selling the artworks after his death, excluding those made by himself or his deceased father, to preserve them for his children. In 1727 he painted the black servant Adriaan de Bruin, living in Oosthuizen. |
His sons Joan and Jacob went to the East-Indies and China. His widow moved to Leiderdorp with her daughter Johanna Antonia. She seems to have been rather wealthy, invested in stocks and bonds, lived at OZ Voorburgwal when she died in 1760. |
Works |
References |
External links |
Media related to Nicolaas Verkolje at Wikimedia Commons |
Nicolaas Verkolje 1673-1746. Edited by Paul Knolle and Everhard Korthals-Altes. Catalogue of an exhibition held in Enschede (Rijksmueum Twenthe) in 2011 |
Nicolaes Maes (January 1634 – December 1693 (buried 24 December 1693)) was a Dutch painter known for his genre scenes, portraits, religious compositions and the occasional still life. A pupil of Rembrandt in Amsterdam, he returned to work in his native city of Dordrecht for 20 years. In the latter part of his career he returned to Amsterdam where he became the leading portrait painter of his time. Maes contributed to the development of genre painting in the Netherlands and was the most prominent portrait painter working in Amsterdam in the final three decades of the 17th century. |
Life |
Nicolaes Maes was born in Dordrecht as the second son of Gerrit Maes, a prosperous cloth merchant and soap boiler, and Ida Herman Claesdr. |
He initially trained with a mediocre painter in his hometown. Around 1648, he went to Amsterdam, where he entered Rembrandt's studio. He remained in the studio of Rembrandt for about five years. He had returned to Dordrecht by December 1653. Here he is recorded making marriage arrangements as he posted on 28 December 1653 the bans of his marriage with Adriana Brouwers, the widow of the preacher Arnoldus de Gelder. |
A signed and dated picture of 1653 shows that the artist had established himself as an independent artist by that year. |
In the middle or end of the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens. During his stay in Antwerp Maes is said to have paid a visit to Jordaens' studio and conversed with the artist at length about painting. From the 1660s, he dedicated himself almost exclusively to portrait painting. He continued to live and work in Dordrecht until 1673. He was clearly successful as attested by the fact that he paid municipal taxes on capital of 3,000 and 4,000 guilders. His high social status is demonstrated by his membership of the local civic guard, in which he reached the rank of lieutenant. |
Maes moved to Amsterdam in 1673, where he resided until his death. The move was likely related to the ready market for portrait specialists after the death of the leading Amsterdam portrait painters Abraham van den Tempel and Bartholomeus van der Helst. The downturn in the art market in Dordrecht and other Dutch cities as a result of the Rampjaar (Disaster Year) of 1672, which was marked by a large-scale invasion of the Dutch Republic by French and other armies, likely also played a role. Maes must have counted on his fashionable portrait paintings to attract the patronage of Amsterdam's larger population of prosperous burghers. His calculation was correct as Maes was so much in demand as a portraitist in Amsterdam that sitters considered it a favour to be given the chance to have the artist paint their portrait. The great number of portraits dating to the 1670s and 1680s are evidence of his success as a society portraitist. His pupils in Dordrecht included his stepson Justus de Gelder, Margaretha van Godewijk, Jacob Moelaert, and Johannes Vollevens. |
Despite his long-term residency in Amsterdam starting from 1673, Maes never became a citizen of Amsterdam. He waited until 1688 to register with the Amsterdam Guild of Saint Luke, only after the municipality had demanded a list of members from the Guild. Maes registered with the Guild not as a 'burgher' (citizen of Amsterdam), but as a resident. During his life he achieved financial success, as at his death his estate included 11,000 guilders in cash, two houses in Dordrecht and three houses in Amsterdam. |
Maes suffered from gout in the final years of his life. His wife Adriana Brouwers was buried in the Oude Kerk, Amsterdam on 14 March 1690. On 24 December 1693, he was buried alongside his wife. |
Works |
Biblical and mythological scenes |
In his early years as an independent artist in the early 1650s Maes painted a few biblical and mythological scenes. These include the Suffer the little Children to come unto Me (1652/3, London, National Gallery), Vertumnus and Pomona (possibly 1653, National Gallery of Ireland, Dublin) and Woman of Samaria at the Well (c.1653, Russell collection, Amsterdam). Maes' biblical compositions were clearly indebted to his master Rembrandt's models but show at the same time that he was capable of interpreting the Bible and the iconographic precedents in an original manner. For instance, in the Dismissal of Hagar and Ishmael (1653, Metropolitan Museum of Art, New York) Maes portrays Abraham banishing the handmaiden Hagar along with their son, Ishmael. By showing Hagar's despondency and Ishmael's isolated posture the work is one of the most moving renderings of this theme, popular with Rembrandt's pupils. Most of Maes' religious compositions are of cabinet size except for the Christ Blessing the Children (National Gallery, London) which depicts life-size figures. |
Genre painting |
During this early period Maes showed himself to be among the most inventive genre painters in the Dutch Republic. He introduced new themes and invented unprecedented expressive poses, gestures and facial expressions. Maes painted various genre scenes set on the domestic doorsteps (for example A young boy receiving alms from an elderly man, 1656, Montreal Museum of Fine Arts) and others praising the virtues of good parenting. These works were influential on other Dutch painters such as Jan Steen. Maes applied Rembrandt's stylistic characteristics such as the brushwork and chiaroscuro to domestic scenes that were the favourite subject matter of Dutch genre artists of his time. |
His paintings of domestic interiors showing women engaged in household tasks are endowed with a solemn dignity through the play of light and shadow and the limited color palette derived from Rembrandt. Between 1654 and 1658, he created a large number of pictures of spinners, lace makers and mothers with children that express the contemporary moralistic view of the value of family life and quiet diligence. An example is The virtuous woman (c.1655, the Wallace Collection) which depicts a housewife sewing a shirt in a very tidy interior. An open Bible at her side implies that she is also clean and pious in spirit. A little boy at the window may indicate that the composition is a depiction of Proverbs 31, 10-19 about working hard and stretching the hand to the poor and the needy. Maes has thus transformed a simple domestic scene into an evocation of the exercise of dignity and moral uprightness in a true biblical sense. |
Maes created some works showing everyday events occurring on the doorstep of a private house such as milkmaids ringing the doorbell or receiving payment or boys asking for alms. Maes was able to bestow on these mundane transactions a solemn dignity. Another theme treated by Maes in the mid-1650s are elderly female figures shown in half or three-quarter length such as an elderly woman saying grace before a simple meal, praying amid vanitas symbols or dozing over a Bible. |
Maes' major contribution in the depiction of interior space was to treat domestic interiors not as shallow, three-walled boxes but as suites of rooms. These innovations in the structuring of interior space were likely inspired by the new story element he introduced in genre painting. These inventions had an important influence on Delft genre painters including Johannes Vermeer and Pieter de Hooch in particular in the compositional arrangements of people in interior spaces. Maes' exterior genre scenes may also have been influential on de Hooch's courtyard views. |
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