Matthias bruegel biography
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Historians liberation Netherlandish Happy Reviews
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Summary of Matthias Grünewald
Grünewald is one of the most important artists in the history of Northern Renaissance Art, and one of the greatest of all German religious painters. Ignoring for the most part the rise of Renaissance classicism (unlike his famous contemporary Albrecht Dürer), Grünewald favored the irrational and mystical spiritual style of late medieval European art. His paintings were unique in the way he used expressive colouring and uneven line to present a personal take on religious parables that are renowned for their harrowing intensity. His Isenheim Altarpiece, now widely considered one of the most significant paintings in the history of Western art, secured Grünewald his worldwide reputation.
Accomplishments
- Grünewald - described by a seventeenth century biographer as the “German Caravaggio” - was unique amongst painters of his generation in the way he so explicitly showed the horror of pain and suffering through figural distortion. With swollen skin made postulant by flagellation and torture, his visions of Christ often appear revolting, but without ever losing sight of the theme of holy redemption.
- Grünewald was a painter of great technical ability who was even able to use grisaille to suggest effects of color, light and shadow, and depth in spa
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Jan Brueghel the Elder
Flemish painter (–)
Jan Brueghel (also Bruegel or Breughel) the Elder (BROY-gəl,[1][2]BROO-gəl;[3][4]Dutch:[ˈjɑmˈbrøːɣəl]ⓘ; – 13 January ) was a Flemish painter and draughtsman. He was the younger son of the eminent Flemish Renaissance painter Pieter Bruegel the Elder. A close friend and frequent collaborator with Peter Paul Rubens, the two artists were the leading Flemish painters in the Flemish Baroque painting of the first three decades of the 17th century.
Brueghel worked in many genres including history paintings, flower still lifes, allegorical and mythological scenes, landscapes and seascapes, hunting pieces, village scenes, battle scenes and scenes of hellfire and the underworld. He was an important innovator who invented new types of paintings such as flower garland paintings, paradise landscapes, and gallery paintings in the first quarter of the 17th century.[5] However, he generally avoided painting large figures, as in portraits, though he often collaborated with other painters who did these, while he did the landscape backgrounds, and sometimes the clothes.
He further created genre paintings that were imitations, pastiches and reworkings of his father's works, in