Jan Van Eyck

Rogier Van der Weyden was a Flemish painter of the mid-15th century. Rogier was chiefly influenced by his first teacher, Robert Campin. Although details of his early training are sketchy, it is generally accepted that he entered the workshop of Robert Campin, the foremost painter in Tournai and dean of the painters' guild, in 1427 at the age of 27 (http://www.belgium.be). Rogier remained in Campin's studio for five years, becoming an independent master of the guild on August 1, 1432. Van der Weyden was not permitted to sell his artwork while studying in Campin’s shop. From Campin, Rogier learned the ponderous, detailed realism that characterizes his earliest paintings, and so alike are the styles of these two masters that critics still do

Especially for his time, van Eyck often signed and dated his paintings in their frames, then considered an integral part of the work (the two were often painted together). In the most substantial early source for him, a 1454 biography by the Genoese humanist Bartolomeo Facio (De viris illustribus), Jan van Eyck was named "the leading painter" of his day. Facio places him among the best artists of the early 15th century, along with Rogier van der Weyden, Gentile da Fabriano, and Pisanello. It is particularly interesting that Facio shows as much enthusiasm for Netherlandish painters as he does for Italian painters. This text also sheds light on aspects of Jan van Eyck's production now lost. Jan van Eyck likely had some knowledge of Latin for his many missions abroad on behalf of the Duke. Jan van Eyck died in Bruges in 1441 and was buried there in the Church of St Donatian (destroyed during the French Revolution). (From

Van Eyck pursued a career at two courts. Working for John of Bavaria, count of Hainaut-Holland, and then was made court painter and valet de chambre to Duke Philip the Good, Duke of Burgundy, the most powerful ruler and foremost patron of the arts in Flanders (Pioch). Employment at court secured him a high social standing which was very unusual for a painter, as well as artistic independence from the painters’ guild of Bruges. Many aspects of his work were intended to promote his personal reputation and abilities, which he accomplished by signing and dating his pictures (also

Born 1390, Jan Van Eyck was a flemish painter who was one of the first to perfect the newly developed technique of oil painting. In 1425 Van Eyck entered the service of the influential Valois prince, Duke Philip the Good of Burgundy. Van Eyck also did paintings for other private clients as well as the court.

Jan van Eyck painted the famous Arnolfini Portrait in 1432 during the Netherlandish Renaissance. The painting is filled with fascinating detail and complex symbolism. It was painted during the time when Burgundy was flourishing economically and it was the center of trade and banking. Jan van Eyck used oil-based paint as medium for his artwork. As the oil paint dried slowly and allowed the painter to add more detail thus it allowed Jan van Eyck to add detail to the picture. However, this painting of a man and woman standing in front of a bed represent Lucca Financier (who had established himself in Burges as an agent of the Medici family)(GA, 227) and Giovanna Cenami, as his wife. The Arnolfini Portrait provides a clear pictorial record of rank

Architecture is a very important part of many biblical paintings and art pieces. It can emphasize aspects of the piece that would not have other wise been obvious, and it can represent deeper ideas and themes in an artwork. Similarly, scale and detail work in art pieces to emphasize certain features and draw attention to more important characters or ideas. In Jan Van Eyck’s, Madonna in the Church, and Madonna of Chancellor Rolin, as well as Domenico Ghirlandaio’s, The Visitation, these characteristics play an important role in how the sacred protagonists are depicted and emphasized.

Johannes, Jan or Johan Vermeer was a magnificent Dutch painter who specialized in domestic scenes of common middle-class family life. Vermeer often hailed as the most famous artist of the Dutch Golden age, or perhaps second to only Rembrandt himself. Johannes Vermeer would not be recognized as a wealthy man, later in life, alas, his younger years did include various hardships which included a lavish rich lifestyle. Growing up in the Netherlands in a small city named Delft, Johannes was would be greatly influenced by his father, his father was only a middle-class worker who worked for years in an industry that manufactured silk products. Eventually, Johannes’ father would leave the silk industry to pursue another profession, which was to become

Van Eyck pursued a career at two courts,working for jhon of Bavaria count of hainaut-Holland in 14422-24 and then securing a prestigious appointment with Phillip the good duck of Burgundy 1425-41 employment at court secured him a high social standing unusual for a painter

In the 15th Century the use of oil paint allowed artists to achieve great detail in their works. Oil paint is slow drying, making it easy to blend and allow for shading to add depth to the painting. The oil paint makes the pigments in color more lustrous and when applied in numerous thin layers artists were able to create a radiant effect. When we look at Jan van Eyck Man In A Red Turban, we can see great detail in not only the face but in all the folds of the turban. We can see all the wrinkles in his face, around his eyes and mouth. The use of shading from lighter to darker helps to define the folds in the fabric of the turban. It also appears that there is light reflecting back in his eyes. With the oil paint Jan was able to create a very

His prolific portfolio included experimentation in everything from printmaking to ceramics, although oil painting was for most of his career his primary medium. His extensive legacy in popular culture and fine art, particularly in abstract geometry and use of color, is extensive and incomparable to all but a few other titans of modern art.

-the texture of skin and cloth makes it seem real and make it connected to emotional experiences

Madonna in a Church is a small oil panel on oak by Flemish painter Jan van Eyck. Madonna in a church was made between c. 1438-1440. Van Eyck has been traditionally credited with the invention of painting in oils, and, although this is incorrect, there is no doubt that he was the real master of the technique. The use of oil paints is very significant in this artworkʼs luminescent quality and presentation of space. The artist creates a new relationship between the viewer and the picture. There is an illusion of a modern, threedimensional scene and through this new more naturalistic, lifelike approach, the viewer becomes connected to the painting, not just in physical terms, but socially, spiritually and emotionally as well. " The minute we

His prolific portfolio included experimentation in everything from printmaking to ceramics, although oil painting was for most of his career his primary medium. His extensive legacy in popular culture and fine art, particularly in abstract geometry and use of color, is extensive and incomparable to all but a few other titans of modern art.

Vincent van Gogh was born on March 30 in 1853 in a village called Groot-Zundert in the province of North Brabant located in the southern Netherlands. He was raised in a Catholic dominant land by his father Theodorus van Gogh and his mother Anna Cornelia Carbentus. His parents had strong roots in the Dutch Reformed Church because Vincent’s father was a preacher there (Van Gogh). He was the first born child because the child his parents were supposed to have before him was a stillborn. His parents went on to have five more kids (McQuillan). Vincent van Gogh based his art off of the things that he wished he had in his life such hope and new beginnings, he was deprived of these qualities because of his struggles with despair and misfortune.

His first drawings from Etten are still very clumsy, but in a few months a great improvement is noticeable, and the progress becomes amazing as soon as he had settled in The Hague (after a row with his father about his refusal to go to church at Christmas). Here he had some help from a very good painter, called Anton Mauve, who also gave him some painting lessons. In the two years that Van Gogh spent in The Hague (1882-83), he produced some two hundred drawings, most of which are very characteristic figure studies, either after the woman who shared his life in The Hague, Sien Hoornik, or after men and women from an old people's home, but there are also excellent landscapes, such as the views of the gardens and meadows behind his house. One of the most famous of his figure studies is the seated nude, titled Sorrow, for which Sien had sat as a model. This portrait, of which he also made a lithograph, is typical for what his ideal in drawing was; he wanted to achieve more than mere technical perfection: his real aim was expression. He wanted to express the misery of the poor people with whom he was surrounded, and also their dignity. He admired the wood engravings of The Graphic, buying and collecting as many as he could, especially its "Heads of the People,"