Thomas Sully | Portrait painter

Thomas Sully (1783-1872) was born in 1783 in Horncastle, Lincolnshire, England, the youngest son of nine children born to the actors Matthew and Sarah Chester Sully. At the suggestion of his father's brother-in-law, a theater manager in Virginia and South Carolina, the Sullys emigrated to the United States in 1792. Sully attended school in New York until his mother's death in 1794, when he returned to live with his family in Richmond. From there they moved to Charleston, South Carolina, where the future artist performed on the stage with his parents and siblings.

Thomas Sully | Mother and Child, 1827

Thomas Sully (June 19, 1783 – November 5, 1872) was an American portrait painter, who was born in Britain but lived most of his life in Philadelphia.
For biographical notes and works by Sully see Thomas Sully | Portrait painter.  

José Rivas | Abstract painter

Born of Spanish decendants and raised in the West Coast, Jose is a Vancouver-based graphic designer and a graduate from Capilano Univerisity’s IDEA - Illustration and Design - Program.

A lover not a fighter, Jose lives to work because it feels like play.

A socialite by nature, he loves talking about food or films directed by Wes Anderson and Stanley Kubrick.

Among other things, He’s a sucker for color schemes and beautiful sunsets.

Cornelis de Vos | Mother and child, 1624

Cornelis de Vos (1584-1651) was born into a Catholic family in Hulst, near the border between Holland and Flanders. This area was hotly disputed during the Eighty Years War (1568–1648) and in 1596 the De Vos family moved to Antwerp, confirming their Flemish rather than Dutch heritage. Soon after, Cornelis became an assistant in the workshop of the Antwerp artist David Remeeus, securing the young man’s place in the Flemish artistic tradition.

Follower of Jan van Scorel | A Man with a Pansy and a Skull, 1535

Probably painted around 1535 in the Northern Netherlands. The pansy symbolises thought (from the French 'pensée') and the skull is probably intended as a memento mori (a symbol of human frailty and reminder of death).

Maarten van Heemskerck | Wonders of the World, 1572

Colossus of Rhodes

Maarten van Heemskerck (1498-1574) produced designs for a set of engravings, showing eight, rather than the usual seven wonders of the ancient world.

His addition to the conventional list was the Colosseum in Rome, which, unlike the others, he showed in ruins, as it was in his own time, with the speculative addition of a giant statue of Jupiter in the centre.

They were engraved by Philip Galle and published in 1572.

Maarten van Heemskerck | Mannerist painter

Maarten van Heemskerck Self-portrait in Rome, 1553

Maarten van Heemskerck (born 1498, Heemskerck, Holland-died 1574, Haarlem), one of the leading Mannerist painters in 16th-century Holland working in the Italianate manner.
He spent a period (c. 1528) in the Haarlem studio of Jan van Scorel, then lately returned from Italy. Van Heemskerck’s earliest works—“Ecce Homo” (Musée des Beaux-Arts, Ghent) and “St. Luke Painting the Portrait of the Virgin” (Frans Halsmuseum, Haarlem), both dated 1532—while adhering closely to the Romanist style of Scorel, seek to outdo it by dramatic lighting and illusionistic effects of plasticity.

Maarten van Heemskerck | Portrait of Machtelt Suijs, c.1540-1545

Dutch Mannerist painter Maarten van Heemskerck (1498-1574) lived in Rome for four years (1532-36) and was deeply affected by the city's art and antiquities.
Here, the half-length, seated figure, the tense yet elegant hands, and even the grotesque classical mask reflect the impact of that experience, while the love of meticulously represented textures is traditionally associated with northern European art.

Agnolo Bronzino | Descent of Christ into Limbo, 1552

Agnolo Bronzino of Florence, Italy, known as Il Bronzino, was a Mannerist painter.

Mixing styles of the late High Renaissance into the early Baroque period, Mannerists often depicted their subjects in unnatural forms.

Bronzino’s works have been described as “icy” portraits that put an abyss between the subject and the viewer.