Who would do his work in an atelier and use a mahlstick
"advertising. Since 2001, Viking decided to devote his space mostly to exhibitions. Atelier Viking is located in the neighbourhood of Bessengue, Rue Jamot face Garage Technique Auto, 100mt from Mobil Bonakouamuang. It collaborates with Art Wash. Atelier Viking Atelier Viking is a studio and an artist-run initiative based in Douala, Cameroon. Artist Viking Kanganyam André founded atelier Viking in March 1976 to promote contemporary art in Cameroon. The paucity of art galleries in Douala encouraged Kanganyam to create a space where artists could be trained and exhibited. Viking taught visual arts (painting, sculpture, graphic art, drawing and serygraphy) to small"
"Michael Wolgemut Michael Wolgemut (formerly spelt ""Wohlgemuth""; 1434 – 30 November 1519) was a German painter and printmaker, who ran a workshop in Nuremberg. He is best known as having taught the young Albrecht Dürer. The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486-9. In his ""atelier"" large altar-pieces and other"
"Atelier An atelier () is the private workshop or studio of a professional artist in the fine or decorative arts, where a principal master and a number of assistants, students, and apprentices can work together producing pieces of fine art or visual art released under the master's name or supervision. This was the standard vocational practice for European artists from the Middle Ages to the 19th century, and common elsewhere in the world. In medieval Europe such a way of working and form of visual or fine art education was often enforced by local guild regulations, of the painters' Guild"
"Master Honoré Master Honoré was a Parisian secular artist who produced Gothic-era illuminated manuscripts for the French monarchy, particularly Philip the Fair. He is considered sculptural in the design of his figures, even capturing the light as it plays on their bodies. His workshop was on the street known today as rue Boutebrie. Master Honoré lived and worked in Paris for the court of Phillip the Fair from 1288 until 1318. Until the 13th century illuminated manuscripts were predominantly created by monks in the scriptoria of monasteries. The 13th century saw a move away from monastic production to a manufacture"
"a glue distemper medium, as they were sent to Brussels to be followed by the weavers. In later works painted by the workshop, the drawings are often painfully more attractive than the paintings. Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint (literally a sharp pointed"
"in accordance with current practice, he took over the workshop as well as the widow of a deceased painter. He was a versatile and prolific artist, known to his contemporaries not only for his church wallpaintings, but also as an organist and embroiderer (hence his nickname of ""Pärlstickare"", ""Pearl-embroiderer""). More than thirty of his schemes, mostly in a secco technique, are extant, many in the Lake Mälaren region, about a third of which bear his signature. Notable examples include wallpaintings at Bromma kyrka, near Stockholm, Lid kyrka, in Södermanland and Täby Kyrkby kyrka in Täby. Part of his life and"
"a microscope, Sandaldjian employed self-made tools such as sharpened needles tipped with ruby or diamond dust, compiling his sculptures out of minuscule materials such as dust, lint, and hair. Even among the few practitioners of microminiature art, Sandaldjian was unusual in that he painted his work, using a single sharpened strand of hair as a brush. Sandaldjian would time his motions to come between his heartbeats, thus maximizing his control of his fingers. Those who saw Sandaldjian at work said that they could not tell when his hands moved. As recounted in Lawrence Weschler's book ""Mr. Wilson's Cabinet of Wonder"","
"Momik Momik (; died 1333) was an Armenian architect, sculptor and a master artist of Armenian illuminated manuscripts. As a sculptor, Momik is also known for his fine carving of ""khachkars"", found primarily at the monastery complex at Noravank. He held an eminent position at the Gladzor School of Illuminated Manuscripts in Syunik, established at Vayots Dzor under the patronage of the Orbelian family's historian, Stepanos Orbelian. Of the manuscripts authored by Momik, only several survive: one is found at the repository of the Mekhitarist Order in Vienna and three others are found at the Mashtots Institute of Ancient Manuscripts"
"outside. It was in these ateliers that artists learned the craft through apprenticeship to masters, a relationship that was controlled by guild statutes. Florentine contracts dating from the late 13th century state that the master was expected to clothe and feed the apprentice, who was called upon to be a faithful servant in return. An apprentice often paid the master during the early years of his education; assuming the apprenticeship was productive, the student would be compensated later in his training. Northern European workshops featured similar terms. Initially, learning to draw was a priority in this system. Michelangelo recommended that"
"Master W with the Key Master W with the Key also known as Master WA and Master of the Housemark (active c. 1465–1490) was an anonymous Netherlandish engraver, who is thought to have been a goldsmith in Bruges. The name given to him refers to his monogram, which is a W followed by a key symbol. Eighty-two works signed with that monogram are extant. Many of these are ornament prints, depicting elements of gothic architecture and decorative objects, and were probably marketed mainly as patterns for other craftsmen to follow. He also produced prints of ships, the first known. He"
"the workshop. After Raffaele Fiorini's death Augusto Pollastri managed one of the most important luthier's Atelier in Bologna for thirty years, helped also by his brother Gaetano. Augusto's total production was not very high in number, yet it was of an astounding quality and class. Pollastri's instruments are today considered legendary and the model developed by him is one on the most copied in the world, besides the classical ones. In fact the number of fake instruments and imitations one could come across is much greater than the number of originals. Gaetano, Augusto's brother, continued after his death, reaching very"
"contract for which still exists. He died at Nuremberg in 1519. Michael Wolgemut Michael Wolgemut (formerly spelt ""Wohlgemuth""; 1434 – 30 November 1519) was a German painter and printmaker, who ran a workshop in Nuremberg. He is best known as having taught the young Albrecht Dürer. The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship"
"Master with the Parrot The Master with the Parrot or Master of the Parrot (""fl"". ) is the notname given to a group of Flemish painters who likely worked in a workshop in Antwerp in the first half of the 16th century. They produced devotional pictures for the local bourgeoisie in a style reminiscent of contemporary Flemish painters working in an Italianate style. The scholar of Flemish painting Max Friedländer was the first to group a set of 15 homogenous works and attribute them to an unknown artist whom he gave the notname 'Der Meister mit dem Papagei' ('Master with"
"‘Sunflower’ artist John Martin Zubersky (active c. 1912 – 1920) or the wonderfully expressive wall pockets by John Zadzora (active circa 1910) but also to men who might have made one piece in their lifetime. It was easy to make and appealed to anyone who had a desire to take a pocketknife to wood. There were countless men, some women, and even children who historically constructed tramp art. Tramp art was mostly made in home based settings and by men who were factory workers, farmers, and labored in just about every conceivable occupation. There were tramps or hoboes who made"
"Master of Affligem The Master of Affligem or Master of the Joseph Sequence (working c. 1470–1500) was an accomplished painter of the South Netherlandish school, apparently working in Brussels, whose name is not known, but whose hand can be detected in a number of surviving paintings on panel. The pseudonym ""Master of the Joseph Sequence"" was given him as a name of convenience in 1923 by Walter Friedländer, who identified a series of tondi illustrating the Legend of St Joseph, which had become scattered among several museums, as all coming from the same painter. Subsequently Friedländer attributed to the same"
"of March 1900. The atelier was both a worksite and the venue for gatherings in the artists’ colony. In the middle of the main floor is the meeting room with paintings by Paul Bürck and there are three artist studios to each side of it. There are two underground artists’ apartments and underground rooms for business purposes. The entrance is located in a niche that is decorated with gold-plated flower motifs. Two six-metre tall statues, “Man and Woman” or “Strength and Beauty”, flank the entrance and are the work of Ludwig Habich. The artists’ houses were grouped around the atelier."
"likely the anonymous master known as Master L. Cz.. Wolfgang Katzheimer Wolfgang Katzheimer the elder (German: Wolfgang Katzheimer der Ältere; c. 1430 — 1508, Bamberg) was a German painter, draftsman, and designer. From 1465 he was master of a workshop in Bamberg that produced paintings and woodcarvings. Very little of his work has survived: two stone carvings that he designed and 22 woodcuts based on his drawings. No surviving paintings can with certainty be attributed to him. Katzheimer had two sons, Wolfgang Katzheimer the younger and Bernhard Katzheimer, who were both minor artists. It is possible that he was a"
"maker. He would work at workshop at days and draw at night. Most of the drawings were of the corridors of the asylum and he framed them himself. If Pullen could not find a suitable tool, he would make it himself. In addition he would also make practical items, such as bed frames, for the needs of the asylum. Pullen was alternatively aggressive or sullen. He could be reserved but also wrecked his workshop once in a fit of anger. He did not like to accept advice and wanted always to get his own way. Once he took a dislike"
"on his back. According to Vasari, ""The work was carried out in extremely uncomfortable conditions, from his having to work with his head tilted upwards"". Michelangelo described his physical discomfort in a humorous sonnet accompanied by a little sketch. The painting technique employed was fresco, in which the paint is applied to damp plaster. Michelangelo had been an apprentice in the workshop of Domenico Ghirlandaio, one of the most competent and prolific of Florentine fresco painters, at the time that the latter was employed on a fresco cycle at Santa Maria Novella and whose work was represented on the walls"
"Maximilian. It was managed by the Flemish master weaver Hans van der Biest. Van der Biest had been invited from Flanders by the Duke to set up a tapestry workshop with craftsmen from the Low Countries in 1604. He was given a large stipend and funds to visit the Southern Netherlands to source materials and recruit weaving professionals. The tapestries to be produced were principally intended to decorate the Munich Residenz, the royal palace of the Duke in Munich. Despite its modest size of about 20 weavers the workshop produced tapestries of an excellent quality with vibrant colours, dynamic scenes"
"work. It has been said that his work did not need the modest stamp ""Werner, fecit"" (Werner made it) as the grace and beauty of his work spoke for itself. During the nineteenth-century there was a type of guild of the ""mechanic class"" in Charleston, which was a group of men with special skills related to the mechanics of blacksmithing. They constituted a more or less secret society, keeping this ""mechanic class"" technology information to themselves. It was not shared publicly. Werner liked to construct new buildings and remodel older existing buildings. Because of this, he was temporarily located at"
"""a liberal teacher who stressed simplicity in art above high academic finish, as well as overall effect rather than detail."" Some of Bonnat's more notable students include: Fred Barnard, Georges Braque, Gustave Caillebotte, Suzor-Coté, Raoul Dufy, Thomas Eakins, Aloysius O'Kelly, John Singer Sargent, Henri de Toulouse-Lautrec, and Marius Vasselon Atelier An atelier () is the private workshop or studio of a professional artist in the fine or decorative arts, where a principal master and a number of assistants, students, and apprentices can work together producing pieces of fine art or visual art released under the master's name or supervision. This"
"and the Bilbao Fine Arts Museum and various private collections. Master with the Parrot The Master with the Parrot or Master of the Parrot (""fl"". ) is the notname given to a group of Flemish painters who likely worked in a workshop in Antwerp in the first half of the 16th century. They produced devotional pictures for the local bourgeoisie in a style reminiscent of contemporary Flemish painters working in an Italianate style. The scholar of Flemish painting Max Friedländer was the first to group a set of 15 homogenous works and attribute them to an unknown artist whom he"
"as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular hand. The most important figures were Giulio Romano, a young pupil from Rome (only about twenty-one at Raphael's death), and Gianfrancesco Penni, already a Florentine master. They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal to Giulio's, as after Raphael's death he became Giulio's less-than-equal collaborator in"
"Karl Ballenberger Karl Ballenberger (1801–1860) was a 19th-century German painter who worked in an archaic, medievalising style. Ballenberger was born at Ansbach on 24 July 1801, the son of a carpenter. He attended a drawing school and worked as decorator in a porcelain factory in Bruckberg, before becoming a stonemason. In 1831 he moved to Munich, where he was instructed in drawing by Friedrich Hoffstadt, a collector of medieval art who later published his ""Gotisches A-B-C Buch"" with illustrations by himself and Ballenberger. Ballenberger then attended the city's Academy. During his period in Munich he carved the ornaments on the"
"and traditional art (which also had a strong influence on his works), but he became interested in African and Mediterranean art as well. A talented handyman, he built his own phonograph, and made most of his furniture, utensils, and doorways. His worldview valued ""differentiating the essential from the ephemeral,"" with Plato, Lao-Tzu, and Milarepa as influences. He was a saint-like idealist and near ascetic, turning his workshop into a place where visitors noted the deep spiritual atmosphere. However, particularly through the 1910s and 1920s, he was known as a pleasure seeker and merrymaker in his bohemian circle. He enjoyed cigarettes,"
"Master of the Malchin Altar The Master of the Malchin Altar (German: Meister des Malchiner Altar) was a northern German Late Gothic painter who was active in Hamburg in the first half of the 15th century. The master acquired his pseudonym from the panels he painted for the outer wings of the altar to Mary in the brick gothic cathedral of Saint John in Malchin. These paintings are similar in style to works by Master Francke, and were at first associated with the outer wings of the altar of Saint George in Wismar, and also with fragments of a crucifixion"
"Master of the Housebook Master of the Housebook and Master of the Amsterdam Cabinet are two names used for an engraver and painter working in South Germany in the last quarter of the 15th century. He is apparently the first artist to use drypoint, a form of engraving, for all of his prints (other than woodcuts he may have designed). The first name derives from his book of drawings with watercolour, called the Housebook, which belonged to the German noble family of Waldburg-Wolfegg from the 17th century until 2008, when they were reported to have sold it for €20 million"
"of books by lay masters in commercial workshops. Master Honoré was one such lay artisan, and one of the few whose actual name survives. In 1295 Master Honoré designed the miniatures in the ""Prayer Book of Philip the Fair"". His figures are larger and have a relief-like modeling that seems more realistic. Master Honoré Master Honoré was a Parisian secular artist who produced Gothic-era illuminated manuscripts for the French monarchy, particularly Philip the Fair. He is considered sculptural in the design of his figures, even capturing the light as it plays on their bodies. His workshop was on the street"
"in the Walters Art Museum, Baltimore, are also attributed to this artist. Master of Affligem The Master of Affligem or Master of the Joseph Sequence (working c. 1470–1500) was an accomplished painter of the South Netherlandish school, apparently working in Brussels, whose name is not known, but whose hand can be detected in a number of surviving paintings on panel. The pseudonym ""Master of the Joseph Sequence"" was given him as a name of convenience in 1923 by Walter Friedländer, who identified a series of tondi illustrating the Legend of St Joseph, which had become scattered among several museums, as"
"Master of Hoogstraeten The Master of Hoogstraeten (c.1475 – c.1530) is the notname given to a Flemish painter active in Antwerp in the early 16th century. He painted mainly religious paintings and is considered a member of the Antwerp Mannerists. The identity of the Master is not known, although attempts have been made to link him with Passchier van der Mersch, a Flemish painter who was a pupil of the leading Antwerp painter Hans Memling. Because of a clear Dutch influence on his work, it has also been surmised that the Master was in fact originally from the Northern Netherlands."
"the court artist of the Habsburg rulers, and ""served as a sort of commissioner of the arts for the Brussels town council"". He was extremely productive, concentrating on the design of his works, and leaving their actual execution largely to others in the case of painting, and entirely so in the case of the tapestries and stained glass. This too may well have been learned from Raphael, whose workshop in Rome was unprecedentedly large. Accordingly, his many surviving works (somewhat depleted in number by Reformation iconoclasm) vary considerably in quality. There are many drawings, mostly studies for designs for tapestries"
"technique, in particular refining cross-hatching to depict volume and shade in a purely linear medium. The other notable artist of this period is known as the Housebook Master. He was a highly talented German artist who is also known from drawings, especially the Housebook album from which he takes his name. His prints were made exclusively in drypoint, scratching his lines on the plate to leave a much shallower line than an engraver's burin would produce; he may have invented this technique. Consequently, only a few impressions could be produced from each plate—perhaps about twenty—although some plates were reworked to"