Hubert van Eyck or Huybrecht van Eyck was an Early Netherlandish painter and older brother of Jan van Eyck, as well as Lambert and Margareta painters. The absence of any single work that he can be said to have completed continues to make an assessment of his achievement uncertain, although for centuries he had the reputation of being an outstanding founding artist of Early Netherlandish painting, he was born in Maaseik, in what is now the Belgian province of Limburg, into a family in the gentry. As the name was not a common one, he is the "Magister Hubertus, Pictor" recorded as having been paid in 1409 for panels in the church of Onze Lieve Vrouwe, Tongeren, he is also Master Hubert who had painted a panel bequeathed in 1413 by Jan de Visch van der Capelle to his daughter, a Benedictine nun near Grevelingen. 1420. Around the time of his settlement, or shortly afterward, he began his only surviving documented work, the Ghent Altarpiece in St Bavo's. However, the painting was not finished until six years after his death, in 1432, so the degree to which the surviving altarpiece reflects his work, rather than that of Jan who took it over, remains much discussed.
An inscription on the frame, destroyed in the beeldenstorm in 1566, stated that Hubert van Eyck "maior quo Nemo reports" started the altarpiece, but that Jan van Eyck – calling himself "are Secundus" – completed it in 1432. Writing in 1933, art historian Bryson Burroughs, who at that time attributed to Hubert the Crucifixion and Last Judgement diptych, describing him as "the fountainhead of northern painting", suggests he did the underdrawing for the Ghent Altarpiece with Jan painting in after his brother's death. Modern scientific investigation reveals various changes between the finished work and the lower painted levels and the underdrawing. Today the inscription is regarded as an overgenerous fraternal tribute. Given the circumstances, the Ghent Altarpiece is a difficult work to use for comparison when assessing other attributions as several other artists from the brothers' workshops worked on it as well; the town magistrates of Ghent visited his workshop in 1425. He died on or before 18 September 1426 still in his thirties, was buried in Saint Bavo’s Cathedral, next to his sister Margareta according to the 16th-century writer van Vaernewijck, who says she was a painter and unmarried.
His heirs paid taxes relating to properties in Ghent. A copper inscription recording his date of death is now missing. According to a tradition from the 16th century, his arm was preserved as a relic in a casket above the portal of Saint Bavo of Ghent. Van Vaernewijck records the local tradition that Jan van Eyck was trained by his brother, though when Jan is first documented in August 1422 he was a "master" and working in The Hague; the division of surviving works between Hubert, early Jan van Eyck, other painters has been the subject of great debate among art historians, involving the Ghent Altarpiece, the many different hands that can be detected in the Turin-Milan Hours, other pieces. In the 19th and early 20th centuries the inscription on the Ghent Altarpiece was taken at face value, most unsigned works now given to the early years of his brother Jan were attributed to Hubert. After a period in the mid-20th century when there was a strong tendency to attribute work away from Hubert, he has made something of a comeback in recent decades, but there is still a wide range of opinion among specialists.
He is to have begun the The Three Marys at the Tomb now in the Museum Boijmans Van Beuningen in Rotterdam, but this seems to have been finished by another artist some decades and has suffered from the restoration. Drawings in the Albertina, Vienna of the Apostles have been attributed to him and the British Museum has a drawing copying a lost Capture of Christ that relates to parts of the Ghent Altarpiece. Burroughs, Bryson. "A Diptych by Hubert van Eyck". The Metropolitan Museum of Art Bulletin. 28: 184–193. Van Buren, Anne Hagopian. "Eyck, van family". Grove Art Online. Oxford University Press. Retrieved 9 December 2012 – via Oxford Art Online. Harbison, Craig. Jan van Eyck, The Play of Realism. London: Reaktion Books. ISBN 0948462183. Snyder, James. Northern Renaissance Art. Harry N. Abrams. ISBN 0136235964. Entry for Hubert van Eyck on the Union List of Artist Names Hubert van Eyck at Artcyclopedia Hubert Van Eyck biography at Web Gallery of Art
The Iris 3000 is a SIP videophone manufactured by UMEC for ACN Inc. It features a 7-inch screen, CMOS Camera, an idle-time photo frame, a standard phone jack to attach it to a cordless telephone for use throughout a home, it uses high-speed internet to connect with the service provider's network and thence to worldwide telephone systems. The IRIS 3000 can be used as a Digital Photo Frame when not in use, using either a USB thumb drive or SD memory card as the picture source, includes a built-in phone adapter to connect an audio-only analog or digital phone for house-wide service, it has audio and video output jacks so that images from the video phone can be shown on a larger screen such as a computer or TV. The service provides for video greetings and video mail for others with Iris 2000 or 3000 videophones; the phone service communicates with any other audio-only telephone, including voice greetings and voice mail. The phone is based on Freescale's i. MX27 ARM Board and runs a custom Linux kernel.
It uses SIP for the connection of the call, supports codecs G.729 and G.711 for Audio and H.263 and H.264 for Video. The phone requires a broadband internet connection with at least 256 Kbs upload speed in order to function properly with a video call, it will not work on any speed of dialup. It could be configured to work with 3G or wifi connections, but such options are not supported by ACN yet; the Iris 3000 was featured in the fourth episode of Season 8 of Donald Trump's The Apprentice. The two competitor teams were set to the task of developing a publicity launch event for the videophone
Gertrude Eleanor Spurr Cutts was a Canadian artist. Born in Yorkshire, Gertrude Spurr began her career as an artist in England, exhibiting her work with the Royal Society of British Artists and the Society of Women Artists. In 1890, Cutts emigrated to Canada, moving to Toronto, opened an art studio. Cutts exhibited her work at the Palace of Fine Arts at the 1893 World's Columbian Exposition in Chicago, Illinois. In 1900, she studied at the Art Students League of New York with George Bridgman, Birge Harrison, John F. Carlson, she married William Cutts in 1909, the couple spent three years painting in England. Cutts had a diverse body of work, comprising pen and ink sketches, she worked as a restorer of old or damaged paintings. Cutts' work is included in the collections of the National Gallery of Canada, the Art Gallery of Ontario, the Art Gallery of Hamilton, the Robert McLaughlin Gallery, she died in Port Perry, Ontario in 1941. Media related to Gertrude Spurr Cutts at Wikimedia Commons