(b ?Alost; fl 1509–55).
Flemish tapestry-maker. He was the son of Pieter van Edingen Aelst, also a weaver of tapestries, and a member of his father’s workshop in Brussels. In 1509 he was cited as a restorer of Margaret of Austria’s collection of tapestries. In 1517 he was paid for tapestries of David and John the Baptist made for Henry VIII, and in 1547 and 1548 he was still listed as a tapestry maker for the court of Charles V. His mark,
(b ?Milan, 1527; d Milan, July 11, 1593).
Italian painter, draughtsman and tapestry designer, active also in Austria and Bohemia. He came from a distinguished Milanese family that included a number of archbishops of the city; his father was the painter Biagio Arcimboldo. Giuseppe is first documented in 1549, working with his father for Milan Cathedral; he received payments until 1558 for supplying paintings, designs for an altar baldacchino and stained-glass windows for the cathedral: the Story of Lot and the Life of St Catherine in the south transept windows are usually attributed to him. He collaborated with Giuseppe Meda in designing the gonfalone of St Ambrose in Milan, probably sometime soon after 1558. In 1556 he received a commission to paint the south wall and vault of the south transept of Monza Cathedral, also in Lombardy, a work that must have been completed by 1562. Portions of a fresco of the Tree of Jesse on the south wall there can be attributed to him. In ...
(fl Arras, 1419–64).
Burgundian painter and tapestry designer. He was a wealthy member of the Arras bourgeoisie and seems to have been a very successful artist. His first recorded work was the painting of mainly heraldic devices in memory of John the Fearless, Duke of Burgundy, at the abbey of St Vaast in 1419. The work was undertaken in such a short time and for a sufficiently large payment that he has been considered the head of an important workshop. In 1426 he was again paid for heraldic painting at Arras, and in 1454 he shared with Jacques Daret the supervision of the painting by Robert de Moncheaux (fl 1454–68) of the tomb of the abbot of St Vaast, Jean du Clercq (untraced).
Bauduin is best known for his execution of the designs for a set of tapestries of the History of Gideon (destr. 1794), considered the most outstanding tapestries owned by ...
(b Saint-Mihiel, Lorraine, bapt June 4, 1640; d Paris, Jan 24, 1711).
French designer, ornamentalist and engraver. The Berain family moved to Paris c. 1644. Berain’s father, also called Jean Berain, and his uncle Claude Berain were master gunsmiths. In 1659 Berain published a series of designs for the decoration of arms, Diverses pièces très utiles pour les arquebuzières, reissued in 1667. In 1662 he engraved for the guild of locksmiths a series of designs by Hugues Brisville (b 1633), Diverses inventions nouvelles pour des armoiries avec leurs ornements. It would seem that by this date Berain’s skill as an engraver was well known. Around 1667 he decorated and signed a hunting gun (Stockholm, Livrustkam.; see Arms and armour §II 2., (iii)) for Louis XIV, which probably served as his introduction to the court. Through the influence and support of Charles Le Brun, in 1670 Berain was employed by the crown as an engraver. In January 1671 he received 400 livres in payment for two engravings (Paris, Bib. N., Cab. Est.) recording the ceiling decoration by Le Brun of the Galerie d’Apollon in the Louvre, Paris, for which he also designed the painted stucco grotesques. In ...
[Lancelot]
(b ?Poperinghe, 1488; d Bruges, bur March 4, 1581).
South Netherlandish painter, draughtsman, designer, architect, civil engineer, cartographer and engraver. He is said to have trained as a bricklayer, and the trowel he used to add as his housemark next to his monogram
(b Aelst [now Aalst], Aug 14, 1502; d Brussels, Dec 6, 1550).
South Netherlandish painter, sculptor, architect and designer of woodcuts, stained glass and tapestries. Son of the Deputy Mayor of the village of Aelst, he was married twice, first to Anna van Dornicke (d 1529), the daughter of the Antwerp painter Jan Mertens, who may have been his teacher; they had two children, Michel van Coecke and Pieter van Coecke II (before 1527–59), the latter of whom became a painter. He later married Mayken Verhulst, herself a painter of miniatures and the mother of three children, Pauwel, Katelijne and Maria; they are shown with their parents in Coecke’s Family Portrait (Zurich, Ksthaus). Mayken is credited with having taught the technique of painting in tempera on cloth to her son-in-law, Pieter Bruegel the elder, who married Maria in 1563. (For family tree see Bruegel family.) Van Mander also stated that Bruegel was Coecke’s apprentice, an allegation no longer universally accepted in view of their substantial stylistic differences. Although the names of other students of Coecke’s, including ...
(b ’s Hertogenbosch, bapt May 9, 1596; d Antwerp, Dec 31, 1675).
Flemish glass-painter, draughtsman, painter and tapestry designer. His reputation rests primarily on his drawings and oil sketches, of which several hundred survive, intended mainly as designs for stained-glass windows and prints. He was strongly influenced by the work of other important Flemish artists of the late 16th century and early 17th, notably Rubens, whose motifs and stylistic elements he frequently reworked in his own compositions.
He was the son of the glass painter Jan (Roelofsz.) van Diepenbeeck (d 1619) and first acquired the skills of his trade in his father’s workshop in ’s Hertogenbosch. In 1622–3 he became a master glass painter in the Guild of St Luke in Antwerp; it is possible that his move from ’s Hertogenbosch in 1621 was related to the war negotiations that were underway that year, which particularly threatened the northern border provinces of the southern Netherlands, where ’s Hertogenbosch was located....
(b Paris, 1561; d Paris, Nov 22, 1602).
French painter and draughtsman. He was a pupil at Fontainebleau of Ruggiero de Ruggieri (d after 1597) and was also trained by Martin Fréminet’s father Médéric Fréminet, a rather mediocre painter in Paris. Dubreuil became Premier Peintre to Henry IV and is usually identified as a member of the so-called second Fontainebleau school (see Fontainebleau school), together with Ambroise Dubois and Martin Fréminet. These artists were employed by the king to decorate the royal palaces, their functions being similar to those of Rosso Fiorentino and Primaticcio earlier at Fontainebleau under Francis I. Dubreuil’s death meant that many of the projects in which he was involved had to be completed by assistants. Despite this and the fact that the majority of his finished work has since been lost, he is considered an important link between the Mannerism of Primaticcio and the classicism of Nicolas Poussin and his contemporaries in the following century....
(b Leiden, Sept 22, 1601; d Antwerp, Jan 8, 1674).
Flemish painter and tapestry designer. He was initially a pupil of Caspar van den Hoecke (d 1648). After a period in Italy, sometime after 1618, he joined the workshop of Peter Paul Rubens. He is one of the few artists whose collaboration with Rubens is documented. He is mentioned several times between 1625 and 1628, for example in 1625, when he was involved in the installation of some of the 44 decorative panels (‘the Medici Cycle’) commissioned from Rubens in 1622 by Marie de’ Medici for the Palais de Luxembourg in Paris. He may also have collaborated in painting some of the panels. In 1628 he became a Master in the Antwerp Guild of St Luke. Immediately afterwards he left for Paris, where he acquired a considerable reputation, not only as a painter but also as a print publisher. In 1648 he was one of the founders of the ...
(fl Arras, 1395–1429).
Burgundian tapestry-weaver. He is notable as the only documented 14th- or 15th-century high-warp weaver whose part in the production of an extant tapestry is certain. The tapestries of SS Piat and Eleuthère (Tournai, Notre-Dame Cathedral) were made and finished at Arras by Feré in December 1402, according to a lost inscription woven above four scenes and now preserved only in a 17th-century copy by Canon Dufief (Brussels, Bib. Royale Albert 1er, MS. 13762, p. 82). The same inscription stated that Feré made this work for Toussaint Prier (d 1437), a canon of Tournai Cathedral, to which he donated the tapestries. It is not clear from the inscription whether Feré was personally responsible for all or part of the weaving or acted as the overseer of a workshop. The tapestry itself, however, appears in its simplicity of materials, scale, and design to conform with the documentary evidence for Feré’s life....
[Mattis Matheus]
(b Nördlingen, c. 1500; d Lauingen, 1569/70).
German painter, miniature painter, and woodcut and tapestry designer. He was probably the son of Matthias, a Nördlingen shoemaker known as Geiger (d 1521), and probably served an apprenticeship in Nördlingen with Hans Schäufelein. By 1525 he was established as an artist in Lauingen, then part of the Duchy of Neuburg, where he appears annually in the tax register until 1568. From 1531 to 1567 he served as the city’s weighmaster. He was married to Anna Reiser, perhaps the daughter of the Lauingen painter Matthes Reiser (d c. 1519), and they had two sons, Hans (fl 1564/5), a goldsmith in Lauingen, and Ambrosius (fl 1568).
Gerung’s major patron was Otto Henry, later Elector Palatine of the Rhine. Between 1530 and 1532 Gerung illuminated the spaces left empty for New Testament scenes in Otto Henry’s large unfinished 15th-century Bible (divided between Munich, Bayer. Staatsbib. and Heidelberg, Kurpfälz. Mus.). He modelled the Bible’s Apocalypse miniatures on Dürer’s woodcut series from ...
(b Paris; fl Brussels, 1448; d c. 1468).
Franco-Flemish illuminator, scribe and designer. He was first paid for restoring old books and writing and illustrating new ones for Philip the Good, Duke of Burgundy, on 26 January 1448, a task that he continued for the next eight years, being rewarded with the title of ducal valet de chambre in October 1449. In 1456 he ceased this exclusive work; in order to widen his clientele, he purchased citizenship in Bruges the following year, probably because of a new ordinance limiting the practice of illumination to citizens. He paid dues to the Bruges guild until 1462 but continued to live in Brussels near the ducal palace on the Coudenberg. Here he joined the Brotherhood of the Holy Cross in 1463, the membership of which comprised ducal servants and city leaders, including Rogier van der Weyden. In 1464 Jean became valet de chambre to the Duke’s heir, Charles de Charolais; he was probably still alive in ...
(bapt Antwerp, May 20, 1593; d Antwerp, Oct 18, 1678).
Flemish painter, tapestry designer and draughtsman. In the context of 17th-century Flemish art, he emerges as a somewhat complicated figure. His oeuvre, the fruit of a continual artistic development, is characterized by great stylistic versatility, to which the length of his career contributed. His religious, mythological and historical representations evolved from the rhetorical prolixity of the Baroque into a vernacular, sometimes almost caricatural, formal idiom. The lack of idealistic treatment in his work is undoubtedly the factor that most removed Jordaens’s art from that of his great Flemish contemporaries Rubens and van Dyck. Jordaens’s officially commissioned works included many paintings in which the sublimity of the subject-matter clashed with the vulgarity of some of his figures. Unlike Rubens and van Dyck, both of whom were knighted in the course of their careers, Jordaens was, in fact, completely ignored by the courts of Spain and Brussels, and he did not receive a single significant commission from Italy, France or England. Only once did Charles I of England grant him a commission, and then under less favourable circumstances (...
[Nicola; Niccola]
(b ?Brussels; d Mantua, 1562).
Flemish tapestry weaver. From c. 1517 he and his brother Giovanni Karcher (fl 1517–62) were working for the Este court in Ferrara (see Ferrara §3), organizing a large workshop for Ercole II d’Este, Duke of Ferrara and Modena. That same year Nicolas went to Brussels and returned with eight weavers, including Rost [Rosta; Vander Roost; del Rosto; Rostel; Arrost], Jan. Nicolas worked with his brother on the Battle of the Gods and Giants (four pieces; destr.), the cartoons of which were by the Dossi brothers and Giulio Romano. In 1539, however, Karcher was invited to set up his own workshop in Mantua by Federico II Gonzaga, 5th Marchese and 1st Duke of Mantua, and took ten workers with him to Mantua (see Mantua, §3). In October 1545 Karcher moved to Florence. His workshop first wove a trial Lamentation (1546; Florence, Uffizi) and a trial pack-cover (destr.), before a three-year contract was signed by ...
[Campaña; Pedro (de)]
(b Brussels, c. 1503; d Brussels, c. 1580).
South Netherlandish painter, tapestry designer and sculptor, active also in Italy and Spain. His biography is known almost exclusively from Spanish sources. The date of his birth is given as 1503 by Pacheco in the Arte (1649; although this contradicts his earlier Libro de retratos 1599); the same birthdate was provided by Palomino and by Céan Bermúdez, who, unlike the earlier writers, added a death date in Brussels of 1580. Kempeneer belonged to a well-known Brussels family of painters and tapestry designers. Before leaving for Italy, he must have trained as a tapestry designer, under the influence of Raphael’s tapestry cartoons of the Acts of the Apostles, which at this date were in Brussels, and those of the Scuola Nuova from Raphael’s workshop. Kempeneer also trained under Bernard van Orley, in whose workshop he painted the grisailles on the back of a Last Judgement—St Stephen and St Mark Giving Alms...
The name of two types of bobbin lace said (with little evidence) to have originated in Milan. One type, dating from the mid-17th century, has Baroque floral scrolls with individual motifs either linked by brides or, in particularly dense designs, linked directly to each other. The other type, dating from the late 17th century and early 18th, had thin, scrolled designs on a regular ground-mesh which was often diamond-stamped....
South Netherlandish family of tapestry weavers (see fig.). Pieter de Pannemaker (fl 1517–32), like Pieter Coecke van Aelst, furnished the palaces of Europe with sumptuous tapestries in gold and silver threads and expensively dyed fine silks and wools from his shop in Brussels. In 1520 Pieter de Pannemaker contracted Bernard van Orley to make tapestry cartoons for his shop. A lovely fragment, probably designed by Bernard and woven by Pieter, shows an Allegory of the Four Winds (Paris, Mus. Cluny). Margaret of Austria, Regent of the southern Netherlands, bought a series of the Passion in four scenes (Madrid, Patrm. N.); two similar sets by de Pannemaker are connected to a drawing by van Orley (Stuttgart, Staatsgal.). In 1523 Margaret ordered a magnificent dais of three tapestries from Pieter, later used in the abdication ceremony of Emperor Charles V. In 1527 Pieter de Pannemaker and van Orley, with ten other weavers, appeared before the Inquisition at Leuven, charged with sheltering a Protestant preacher. Pieter was fined, but by ...
(b ?nr Liège, c. 1410; d Aix-en-Provence, c. 1476).
Embroiderer and painter. Possibly in the circle of Jan van Eyck, he was apparently active at the Burgundian court in the early 1430s. It was perhaps in Dijon, while a prisoner there in 1435–6, that René, Duke of Anjou, engaged him; Pierre is documented in Naples with René in 1440. The artist’s first wife was Ydria Exters ‘d’Allemagne’ (d 1460), a widow and the mother of Barthélemy d’Eyck, presumably René’s chief painter. In 1444 Pierre du Billant painted a chariot for René’s daughter Margaret (1430–82) for her engagement to Henry VI, King of England, and in 1445 he received the substantial payment of 404 livres ‘pour ouvraiges de broderies faits à Tours’. In 1447 he painted on canvas a St Mary Magdalene (untraced), which René sent to his wife. Pierre headed a workshop in which his principal assistant is identified as Jean Gaultier. In 1448 he received 173 livres for unspecified works. In ...
[Santi, Raffaello; Sanzio, Raffaello]
(b Urbino, 28 March or April 6, 1483; d Rome, April 6, 1520).
Italian painter, draughtsman and architect. He has always been acknowledged as one of the greatest European artists. With Leonardo da Vinci, Michelangelo and Titian, he was one of the most famous painters working in Italy in the period from 1500 to 1520, often identified as the High Renaissance, and in this period he was perhaps the most important figure. His early altarpieces (of 1500–07) were made for Città di Castello and Perugia; in Florence between 1504 and 1508 he created some of his finest portraits and a series of devotional paintings of the Holy Family (see fig.). In 1508 he moved to Rome, where he decorated in fresco the Stanze of the papal apartments in the Vatican Palace—perhaps his most celebrated works—as well as executing smaller paintings in oil (including portraits) and a series of major altarpieces, some of which were sent from Rome to other centres. In Rome, Raphael came to run a large workshop. He also diversified, working as an architect and designer of prints....
[Jean de Bruxelles]
(fl 1498–1521).
South Netherlandish painter and designer of tapestry cartoons, stained-glass windows, and sculpture. He is first documented in 1498, as a Brother of Our Lady of the Seven Sorrows, and later became court painter at Mechelen and Brussels to Margaret of Austria, Regent of the Spanish Netherlands. Jan’s widely imitated tapestry designs, filled with graceful, melancholic figures set in a mixture of Late Gothic and Renaissance architecture, helped to create a uniform style in Brussels tapestries in the first quarter of the 16th century. The basis for attributing tapestries to Jan, or his workshop, is the documented series of the Story of Herkinbald (Brussels, Musées Royaux A. & Hist.), which was made for the Confraternity of the Holy Sacrament at Leuven and for the design for which Jan was paid 2.5 Rhenish guilders and some wine in 1513. His collaborators were the painter ‘Philips’ [Maître Phillipe] and the weaver ‘...
