The Concise Oxford Dictionary of Art and Artists (242 page)

 
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(1742–1803).
Welsh landscape painter, a pupil of Richard
Wilson
. He was in Italy 1776–83, and although he painted some ambitious
classical
landscapes, he is now best known for his remarkably fresh and unaffected oil sketches done in and around Naples and Rome (good examples are in the National Museum of Wales at Cardiff). They are among the earliest British examples of this kind of open-air sketch and have a directness that looks forward to
Corot
.

 
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(1819–91).
Dutch landscape painter and etcher who had close affinities with the French
Impressionists
. Although he was better appreciated during his lifetime than van
Gogh
, in some ways his career is similar to that of his more famous countryman. Both artists made a greater impression abroad than in their own country; both failed to adjust to the society of their time; both were troubled by serious psychological problems; and sensational aspects of their lives—in Jongkind's case it was alcoholism—have interfered with a balanced appraisal of their achievement. Jongkind studied in The Hague with
Schelfhout
. In 1846 he moved to Paris, and from then onwards was in close touch with leading French artists. He worked and exhibited with members of the
Barbizon School
, and during the 1860s played an important part in the development of Impressionism. His marine pictures and views of ports, which are beautiful studies of the effects of air and atmosphere, particularly influenced
Monet
and
Boudin
.

 
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(
c.
1490–1540).
Netherlandish painter, born presumably at Cleves in the lower Rhine region and active mainly in Antwerp, where he became a master painter in 1511. He was dean of the painters' guild in 1515 and 1525 and seems to have been one of the most productive Antwerp painters of his time, but his career is ill-defined. There is a flavour of
Leonardo
in some of his works, and he may have visited Italy. Almost certainly he worked in France and there are several portraits of Francis I and his wife attributed to him, as is a portrait of Henry VIII of England (Royal Coll.). According to van
Mander
he collaborated with Joachim
Patenier
: a
Rest on the Flight into Egypt
(Musées Royaux, Brussels) is possibly a joint work. Joos's son,
Cornelis van Cleve
(1520–67), was also a painter. He was known as ‘Sotte Cleve’ (Mad Cleve) after becoming insane in 1554–a result of failing to win the post of Court Painter to Philip II of Spain.

 
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(active
c.
1460–80).
Netherlandish painter, part of whose career was spent in Italy, where he was known as Giusto da Guanto (Justus of Ghent). He became a member of the Antwerp Guild in 1460, but by 1464 had moved to Ghent, where he was a friend of Hugo van der
Goes
. At some time after 1468 he went to Rome, and by 1472 had settled in Urbino, where he worked for Duke Federico da
Montefeltro
. Joos's only documented work is
The Communion of the Apostles
(also known as
The Institution of the Eucharist
, 1472–4), which is still at Urbino, in the Galleria Nazionale. Like Hugo's Portinari Altarpiece, it was an important work in spreading knowledge of the Netherlandish oil technique in Italy. Of the other works attributed to Joos, the most important are a series of twenty-eight
Famous Men
(Galleria Nazionale, Urbino, and Louvre, Paris), commissioned for the Ducal Palace. Their authorship is controversial, and they may have been a work of collaboration between Joos and the Spanish painter Pedro
Berruguete
.

 
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