German Northern Renaissance Painter, ca.1480-1538 Albrecht Altdorfer (c. 1480 near Regensburg ?C 12 February 1538 in Regensburg) was a German painter, printmaker and architect of the Renaissance era, the leader of the Danube School in southern Germany, and a near-contemporary of Albrecht D??rer. He is best known as a significant pioneer of landscape in art. He most often painted religious scenes, but is mainly famous as the first frequent painter of pure landscape, and also compositions dominated by their landscape. Taking and developing the landscape style of Lucas Cranach the Elder, he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from a rising or setting sun. His Landscape with footbridge (National Gallery, London) of 1518-20 is claimed to be the first pure landscape in oil. [1] He also made many fine finished drawings, mostly landscapes, in pen and watercolour. His best religious scenes are intense, sometimes verging on the expressionistic, and often depict moments of intimacy between Christ and his mother, or others. His most famous religious artwork is the The Legend of St. Sebastian and the Passion of Christ that decorated the altar in the St. Florian monastery in Linz, Austria. He often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large.  Related Paintings of ALTDORFER, Albrecht :. | The Resurrection of Christ jjkk | Susanna in the Bath and the Stoning of the Elders | The Martyrdom of St Florian | Landscape with a Footbridge | The Battle of Alexander (detail) vcvv |
Related Artists:
Frederick Goodall
British Painter, 1822-1904 Painter, son of Edward Goodall. He was taught by his father and first exhibited at the Royal Academy in 1838. His earliest subjects were rural genre scenes and landscapes, many derived from sketching trips made between 1838 and 1857 in Normandy, Brittany, Wales, Ireland, Scotland and Venice. In the 1850s he also painted subjects from British history. More significant for his subsequent career was his visit to Egypt from September 1858 to April 1859. In Cairo he lived in a house in the Coptic quarter with Carl Haag. Together the two artists went on expeditions to Giza to draw the Nile, the Sphinx and Pyramids, and to Suez and across the Red Sea to the Wells of Moses at 'Uyen Mesa. Goodall also made rapid sketches in the crowded streets of Cairo. 'My sole object in paying my first visit to Egypt', he wrote, 'was to paint Scriptural subjects'. The first of these, Early Morning in the Wilderness of Shur (London, Guildhall A.G.), was exhibited at the Royal Academy in 1860 and won him critical and popular acclaim. In 1864 he was elected RA. Much of the rest of Goodall's long career was devoted to painting similar scenes of Egyptian life with biblical associations, for which he made reference to his sketches and to Egyptian artefacts and clothing. Their success prompted a second visit to Egypt in 1870-71.
Joseph Crawhall
1861-1913 English painter, active in Scotland. He was brought up in Newcastle upon Tyne and was encouraged by his father and by Charles Keene, the cartoonist for Punch, studying at King's College School in London under P. H. Delamotte. There he met E. A. Walton, with whom, joined by James Guthrie, he painted at Roseneath, near Glasgow, in 1879. Crawhall also collaborated with Walton and Guthrie on illustration. His association with the Glasgow Boys was consolidated during the early 1880s on further painting trips in the Trossachs, Berwicks, and Crowland, Lincs. A keen huntsman and rider, Crawhall specialized in bird, animal and humorous subjects, and his work, with that of Arthur Melville, exemplifies the achievement of the Glasgow Boys in watercolour. After studying in Paris in 1882 under Aim? Morot (1850-1913), Crawhall exhibited for the first and only time at the Royal Academy, probably showing A Lincolnshire Meadow (1883; Glasgow, A.G. & Mus.). He then virtually abandoned oil painting and the plein-air technique, working instead from memory and using line and watercolour.
Joseph Israels
1824-1911