The Artists

Named makers and anonymous workshops, given attribution and reference where the record supports it. A workshop stands in this directory wherever the makers' names were never recorded — no name has been invented for any of them.

The aged, gold-toned face of Christ from Andrei Rublev's Saviour icon from Zvenigorod, its paint worn and cracked. Artist Andrei Rublev The monk-iconographer whose Trinity became the measure of the Russian icon: stillness, humility, and gold held in perfect balance. c. 1360–1430 Lucas Cranach the Elder's painted self-portrait: his bearded head in three-quarter view against a dark background. Artist Lucas Cranach the Elder Luther's friend and the Reformation's image-maker, whose workshop put the evangelical message into altarpieces, portraits, and prints. 1472–1553 Saenredam's painting of the whitewashed, nearly empty interior of St Bavo's Church in Haarlem, with its organ and a few small visitors. Artist Pieter Saenredam The Dutch painter of whitewashed church interiors — the Reformed interior, empty of images, made itself the picture. 1597–1665 Giotto's Scrovegni Chapel fresco of Joachim among the shepherds: the haloed Joachim in a pink robe with two shepherds, a dog, and a flock of sheep. Artist Giotto di Bondone The Florentine who gave biblical figures weight, grief, and ground to stand on — the hinge between medieval symbol and Renaissance story. c. 1267–1337 Fra Angelico's Annunciation fresco at San Marco: the angel Gabriel bowing before the seated Virgin under a columned loggia. Artist Fra Angelico The Dominican friar whose frescoes for his brothers' cells at San Marco were painted as instruments of prayer, one mystery per monk. c. 1395–1455 Jacopo del Conte's painted portrait of Michelangelo: the bearded artist in black, turned toward the viewer. Artist Michelangelo Buonarroti Sculptor of the Pietà and the David, painter of the Sistine ceiling — the Renaissance's defining sacred artist, shown here in del Conte's portrait. 1475–1564 Caravaggio's Calling of Saint Matthew: Christ entering a dim tax office and pointing to Matthew, who gestures toward himself across a table of coins. Artist Caravaggio The painter who dragged sacred history into a Roman tavern's light — saints with dirty feet, apostles recruited from the street. 1571–1610 Rembrandt's late self-portrait: the aging artist in a dark beret and fur-trimmed coat, lit against a brown background. Artist Rembrandt van Rijn The Dutch master who painted the Bible as an interior event — and painted himself, at every age, as its witness. 1606–1669 An open two-page spread of the Qur'an copied by Ibn al-Bawwab in 1000-1001, written in flowing cursive script with gold chapter headings and verse medallions. Artist Ibn Muqla The Abbasid vizier who gave Arabic writing its proportional system — the calligrapher's geometry on which a thousand years of Qur'an copying rests. died 940 A Persian miniature of laborers constructing the Fort of Kharnaq, hauling bricks and climbing scaffolding, attributed to Kamal ud-Din Behzad. Artist Kamal ud-Din Behzad The master of the Timurid miniature, head of the royal atelier at Herat, whose building sites, gardens, and crowds set the Persian standard. c. 1450–1535 A photograph of the Selimiye Mosque in Edirne: Sinan's great central dome and four slender minarets against a cloudy sky. Artist Mimar Sinan Chief architect of the Ottoman sultans for fifty years, builder of the Süleymaniye and the Selimiye — the classical Ottoman mosque perfected. c. 1489–1588 Reza Abbasi's single-figure painting of a standing youth in a striped robe and red turban, holding a wine bottle and cup within a marbled album border. Artist Riza-i Abbasi The Safavid court painter who turned the Persian miniature toward the single figure — youths, lovers, and readers alone on the page. c. 1565–1635 A 1941 black-and-white portrait photograph of Marc Chagall in a suit and tie. Artist Marc Chagall The Jewish painter of Vitebsk who carried the shtetl, the Torah, and the crucified Jesus of Jewish suffering into modern art. Shown in a 1941 photograph; his paintings remain in copyright. 1887–1985 Oppenheim's painting Sabbath Rest: a Jewish family resting on a bench outside their home at the Sabbath, the mother reading, in a moonlit street. Artist Moritz Daniel Oppenheim Called the first Jewish painter of the modern era: his Scenes from Traditional Jewish Family Life gave emancipated German Jewry its self-portrait. 1800–1882 Raja Ravi Varma's goddess Lakshmi in a red sari, standing on a lotus and flanked by two elephants, as issued in his oleographs. Artist Raja Ravi Varma The painter who put the gods on the bazaar wall: his oleographs of Lakshmi, Saraswati, and the epics made divine images a part of every Indian home. 1848–1906 Abanindranath Tagore's Bharat Mata: a four-armed, saffron-robed Mother India holding a book, cloth, sheaves of rice, and prayer beads. Artist Abanindranath Tagore Founder of the Bengal School, whose Bharat Mata (1905) gave Indian nationalism a goddess's face — and swadeshi art its emblem. 1871–1951 Sesshu Toyo's 1495 Haboku-Sansui, a tall hanging scroll whose upper half carries columns of ink inscriptions and whose lower half holds a misty splashed-ink landscape of peaks and a pavilion. Artist Sesshu Toyo The Zen monk-painter who studied in Ming China and returned to make ink landscape the deepest expression of Japanese Zen. 1420–1506 Hakuin Ekaku's monumental Daruma: the bald, wide-eyed, red-robed face of Bodhidharma painted in bold ink and color on a black ground, with white calligraphy at upper left. Artist Hakuin Ekaku The Rinzai Zen reviver who painted Daruma with a sumo wrestler's glare and wrote the koan of the sound of one hand. 1685–1768 Sotatsu's Wind God screen: the green demon Fujin strides across a gold-leaf ground clutching his great white wind bag, its streamers curling behind him. Artist Tawaraya Sotatsu Founder of the Rinpa school, painter of the Wind God and Thunder God screens — gold ground, divine weather, design as devotion. died c. 1640 A long horizontal detail of the Eighty-Seven Immortals handscroll, attributed to Wu Daozi: dozens of robed celestial figures in flowing procession, drawn in fine uninked line. Artist Wu Daozi The Tang muralist whose temple walls made crowds gasp — the sage of painting in Chinese tradition, whose work survives in copies and in legend. c. 680–760 Liang Kai's Immortal in Splashed Ink: an album leaf whose right panel shows a shambling immortal rendered in a few broad wet ink washes, faced by a panel of later calligraphic colophons and collector seals. Artist Liang Kai The court painter who walked away from the academy to become 'Madman Liang', inventor of the splashed-ink immortal. c. 1140–1210 A framed calligraphy panel by Mishkin-Qalam: the Bahá'í Greatest Name invocation written in huge sweeping black script across pink and blue marbled paper, with the artist's signature and date in smaller script at the bottom. Artist Mishkin-Qalam The Bahá'í master calligrapher whose rendering of the Greatest Name became the faith's most reproduced image — a word, beautifully written, in place of a face. 1826–1912 A night photograph of the Bahá'í Terraces on Mount Carmel in Haifa: the illuminated golden-domed Shrine of the Báb at the top and the lit central staircase and terraces descending between palm trees. Artist Fariborz Sahba The Iranian-Canadian architect of the Lotus Temple in New Delhi and of the Bahá'í terraces on Mount Carmel. born 1948 A gallery interior photograph showing Norval Morrisseau's large painting Artist and Shaman Between Two Worlds — a blue thunderbird spreading its wings over a dense field of figures and spirit beings in red, pink, and turquoise — hanging on a museum wall above a viewing bench. Artist Norval Morrisseau The Anishinaabe founder of the Woodland School, who painted the legends of his people in X-ray lines and unmixed color — against the elders' first objections, then with their blessing. 1932–2007 Bill Reid's monumental yellow-cedar sculpture The Raven and the First Men in its museum rotunda: the great Raven perched on a giant clamshell from which the first human beings are emerging. Artist Bill Reid The Haida master carver and jeweler whose Raven and the First Men brought the monumental carving tradition back to full strength. 1920–1998 A Qantas Boeing 787-9 in flight, its fuselage wrapped in the red, ochre, and white dot-work of the livery adapted from Emily Kame Kngwarreye's painting Yam Dreaming. Artist Emily Kame Kngwarreye The Anmatyerre elder who began painting on canvas at about eighty and produced one of the great bodies of work in Australian art — her Country, Alhalkere, in yam, seed, and track. c. 1910–1996 Käthe Kollwitz's bronze Pietà, Mother with her Dead Son, in Berlin's Neue Wache: a shrouded seated mother bowing over the body of her son stretched across her lap. Artist Käthe Kollwitz The German artist of grief: her Pietà, enlarged in Berlin's Neue Wache, is Germany's central memorial to the victims of war — a mother holding her dead son, made by a mother who lost hers. 1867–1945 Inside Doris Salcedo's Fragmentos memorial in Bogotá: a glass-walled corridor whose floor is made of her textured metal plates cast from melted-down weapons, with preserved ruins visible through the glass. Artist Doris Salcedo The Colombian sculptor of political violence's traces — her Fragmentos floor in Bogotá is a counter-monument hammered from surrendered weapons by women victims of the conflict. born 1958 A 1985 black-and-white portrait photograph of Sobha Singh in old age, his long white hair loose around his shoulders and a long white beard over a white robe with an embroidered shawl edge. Artist Sobha Singh The Punjabi painter whose portraits of the Gurus hang in a million homes — shown here, by the rules of his own tradition's guidance, as himself: a 1985 photograph of the artist. 1901–1986 A Chola-period bronze statue of the goddess Parvati standing on a lotus pedestal and holding a lotus bud, photographed at the Honolulu Museum of Art. Workshop The Chola Bronze Workshops Anonymous Tamil caster lineages whose lost-wax bronzes — above all the dancing Shiva — are the summit of Indian sculpture. 9th–13th centuries A Gandhara grey-schist relief panel carved in stacked registers with scenes from the life of the Buddha, from the Cleveland Museum of Art. Workshop The Gandhara Workshops The stucco and schist ateliers of the Peshawar valley that gave the Buddha his first human face — Apollo's features, a monk's robe, a teacher's calm. 1st–5th centuries A painted folio from a Jain Kalpasutra manuscript: on a red ground, a miniature shows Mahavira pulling out his hair at his initiation beside a seated crowned figure under two trees, next to gold-on-red text panels with floral borders. Workshop The Gujarat Manuscript Ateliers The family workshops of western India that painted the Kalpasutra and the Jain lives in gold, lapis, and red — hundreds of copies, one devotional economy. 15th–17th centuries The decorative opening folio of a Bhai Bala Janamsakhi manuscript: Gurmukhi text in black and red ink set inside a triangular gabled frame headed by the Ik Onkar motif, with no figures of any kind. Workshop The Janamsakhi Ateliers The painters of the janamsakhis, the illustrated lives of Guru Nanak. This directory's image for them is a manuscript's opening folio of text — no figure of the Guru — by the community's guidance. 17th–19th centuries A crowd before the newly rebuilt Ise Grand Shrine at the 2013 shikinen sengu: a brand-new unlacquered hinoki torii and the fresh pale wood and thatched roof of the just-completed shrine building. Workshop The Ise Carpenters (Miyadaiku) The master shrine carpenters who rebuild Ise Jingu every twenty years with hand tools and unjoined cypress — a craft transmitted by being performed. Lineage from the 7th century A photograph along the Apadana relief wall at Persepolis: a long receding procession of carved Persian guards and tribute bearers in profile, with rosette friezes above and below. Workshop The Persepolis Carvers The imperial workshops of Darius and Xerxes — masons from across the empire whose Apadana reliefs process twenty-three nations up the stairs with their gifts. 6th–4th centuries BCE