LO SPIRITO BAROQUE

:: Carracci, Annibale

2008-09-15T23:09:00.007+01:00

CARRACCI, Annibale .

Carracci, Annibale (Italian, 1560-1609).

Annibale Carracci (1560 - 1609).

CARRACCI ANNIBALE.

Carracci, Annibale.

Carracci Annibale

Annibale Carracci .

Annibale Carracci.

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2008-09-15T23:05:00.001+01:00

:: Carracci, Annibale...

2008-09-15T22:40:00.016+01:00

CARRACCI, Annibale
(b. 1560, Bologna, d. 1609, Roma)

Biography
The Carracci was a family of Bolognese painters, the brothers Agostino (1557-1602) and Annibale (1560-1609) and their cousin Lodovico (1555-1619), who were prominent figures at the end of the 16th century in the movement against the prevailing Mannerist artificiality of Italian painting.
They worked together early in their careers, and it is not easy to distinguish their shares in, for example, the cycle of frescos in the Palazzo Fava in Bologna (c.1583-84). In the early 1580s they opened a private teaching academy, which soon became a center for progressive art. It was originally called the Accademia dei Desiderosi ('Desiderosi' meaning 'desirous of fame and learning'), but later changed its name to Academia degli Incamminati (Academy of the Progressives). In their teaching they laid special emphasis on drawing from the life (all three were outstanding graphic artists) and clear draughtsmanship became a quality particularly associated with artists of the Bolognese School, notably Domenichino and Reni, two of the leading members of the following generation who trained with the Carracci.
They continued working in close relationship until 1595, when Annibale, who was by far the greatest artist of the family, was called to Rome by Cardinal Odoardo Farnese to carry out his masterpiece, the decoration of the Farnese Gallery in the cardinal's family palace. He first decorated a small room called the Camerino with stories of Hercules, and in 1597 undertook the ceiling of the larger gallery, where the theme was The Loves of the Gods, or, as Bellori described it, "human love governed by Celestial love". Although the ceiling is rich in the interplay of various illusionistic elements, it retains fundamentally the self-contained and unambiguous character of High Renaissance decoration, drawing inspiration from Michelangelo's Sistine Ceiling and Raphael's frescos in the Vatican Loggie and the Farnesina. The full untrammelled stream of Baroque illusionism was still to come in the work of Cortona and Lanfranco, but Annibale's decoration was one of the foundations of their style.
Throughout the 17th and 18th centuries the Farnese Ceiling was ranked alongside the Sistine Ceiling and Raphael's frescos in the Vatican Stanze as one of the supreme masterpieces of painting. It was enormously influential, not only as a pattern book of heroic figure design, but also as a model of technical procedure; Annibale made hundreds of drawings for the ceiling, and until the age of Romanticism such elaborate preparatory work became accepted as a fundamental part of composing any ambitious history painting. In this sense, Annibale exercised a more profound influence than his great contemporary Caravaggio, for the latter never worked in fresco, which was still regarded as the greatest test of a painter's ability and the most suitable vehicle for painting in the Grand Manner.
Annibale's other works in Rome also had great significance in the history of painting. Pictures such as Domine, Quo Vadis? (National Gallery, London, c.1602) reveal a striking economy in figure composition and a force and precision of gesture that had a profound influence on Poussin and through him on the whole language of gesture in painting. He developed landscape painting along similar lines, and is regarded as the father of ideal landscape, in which he was followed by Domenichino (his favorite pupil), Claude, and Poussin. The Flight into Egypt (Doria Gallery, Rome, c.1604) is Annibale's masterpiece in this genre.
In his last years Annibale was overcome by melancholia and gave up painting almost entirely after 1606. When he died he was buried accordingly to his wished near Raphael in the Pantheon. It is a measure of his achievement that artists as great and diverse as Bernini, Poussin and Rubens found so much to admire and praise in his work.
Annibale's art also had a less formal side that comes out in his caricatures (he is generally credited with inventing the form) and in his early genre paintings, which are remarkable for their lively observation and free handling (The Butcher's Shop, Christ Church, Oxford). Agostino assisted Annibale in the Farnese Gallery from 1597 to 1600, but he was important mainly as a teacher and engraver. His systematic anatomical studies were engraved after his death and were used for nearly two centuries as teaching aids. He spent the last two years in Parma, where he did his own "Farnese Ceiling", decorating a ceiling in the Palazzo del Giardino with mythological scenes for Duke Ranuccio Farnese. It shows a meticulous but somewhat spiritless version of his brother's lively Classicism. Ludovico left Bologna only for brief periods and directed the Carracci academy by himself after his cousins had gone to Rome. His work is uneven and highly personal. Painterly and expressive considerations always outweigh those of stability and calm Classicism in his work, and at its best there is a passionate and poetic quality indicative of his preference for Tintoretto and Jacopo Bassano. His most fruitful period was 1585-95, but near the end of his career he still produced remarkable paintings of an almost Expressionist force, such as the Christ Crucified above Figures in Limbo (Sta Francesco Romana, Ferrara, 1614).
The Caracci fell from grace in the 19th century along with all the other Bolognese painters, who were one of Ruskin's pet hates and whom he considered (1847) had "no single virtue, no color, no drawing, no character, no history, no thought". They were saddled with the label "eclectic" and thought to be ponderous and lacking in originality. Their full rehabilitation had to wait until the second half of the 20th century (the great Carracci exhibition held in Bologna in 1956 was a notable event), but Annibale has now regained his place as one of the giants of Italian painting.
Agostino's illegitimate son Antonio (1589?-1618) was the only offspring of the three Carracci. He had a considerable reputation as an artist in his day, but after his early death was virtually forgotten, and it is only recently that his work has been reconsidered.

Annibale Carracci

Annibale Carracci
Annibale Carracci (1560–1609).

Annibale Carracci .

Annibale Carracci

Annibale Carracci

Category:Annibale Carracci

Annibale Carracci

:: Sacchi, Andrea...

2008-09-08T22:38:00.005+01:00

SACCHI, Andrea
(b. 1599, Nettuno, d. 1661, Roma)

Biography
Italian painter, one of the leading artists of his day in Rome. He was a pupil of Albani, but he was inspired chiefly by Raphael, and with the sculptors Algardi and Duquesnoy he became the chief exponent of the style sometimes called 'High Baroque Classicism'. In defence of the classical princples of order and moderation, Sacchi engaged in a controversy in the Academy of St Luke with Pietro da Cortona on the question of whether history paintings should have few figures (as Sacchi maintained) or many (Cortona). Sacchi's ideas were more immediately influential, but his ponderous ceiling fresco of Divine Wisdom (1629-33) in the Palazzo Barberini in Rome is completely outshone by Cortona's exhilarating ceiling of the Grand Salone in the same building.
Sacchi, indeed, was at his best on a much smaller scale - in altarpieces such as the grave, introspective Vision of St Romuald (Vatican, c. 1631) and in portraits. His most important pupil was Maratti. Sacchi also worked as an architect, designing the Chapel of St Catherine of Siena (1637-39) in the Sacristy of Sta Maria sopra Minerva, a work of refined classical purity. He was a fine draughtsman.

Andrea Sacchi.
Andrea Sacchi (1599 - 1661) .
Sacchi Andrea.
Sacchi, Andrea .
SACCHI ANDREA.
Sacchi, Andrea .
Andrea Sacchi .
Biographies of Andrea Sacchi .
Andrea Sacchi.
Sacchi Andrea .

:: Tempel, Abraham Van Den...

2008-08-28T23:45:00.004+01:00

TEMPEL, Abraham van den
(b. 1622/23, Leeuwarden, d. 1672, Amsterdam)

Biography
Dutch painter. He was the son of the Frisian painter and Mennonite minister Lambert Jacobsz.. He received his training in Amsterdam from Jacob Backer c. 1642-6, after which he took up residence in Leiden. He married there in 1648. The influence of Backer is evident in several of his early biblical and allegorical paintings, for instance in three allegories, including the Maiden of Leiden Crowned by Minerva, which he painted in 1650-51 for the Lakenhal (the Cloth Hall) in Leiden (all Leiden, Stedelijk Museum Lakenhal). He later turned primarily to portrait painting, of which there are several dozen surviving works dating from 1660, when he moved to Amsterdam, until his death. Good examples are the pendant portraits of the Leiden cloth-manufacturer Pieter de la Court and his second wife Catharina van der Voort (1667; Amsterdam, Rijksmuseum).
Van den Tempel also painted group portraits, such as that of Albertina Agnes van Nassau-Dietz and her Children (1668; Leeuwarden, Fries Museum) and the portrait of the Amsterdam merchant David Leeuw with his Wife and Children (1671; Amsterdam, Rijksmuseum). These handsome portraits show some influence of Bartholomeus van der Helst but nevertheless reflect his own slightly more sober style. His paintings are among the best Dutch portraits of the third quarter of the 17th century. His work is characterized by the combination of static poses and elegant execution of details, particularly in the rendering of textiles. Among his pupils were Frans van Mieris and Michiel van Musscher.

Abraham van den Tempel .
Abraham van den Tempel .
Abraham Lambertsz Jacobsz van den Tempel.
Abraham van den Tempel.
Tempel, Abraham van den .

Tempel, van den, family .
Art History - A Selected List of Dutch Baroque Artists.

Abraham Lambertsz. van den Tempel .

:: Tamm, Franz Werner von....

2008-08-28T23:11:00.002+01:00

TAMM, Franz Werner von
(b. 1658, Hamburg, d. 1724, Wien)

Biography
German painter, active in Italy and Austria. He was first trained in Hamburg by Dietrich von Sosten (fl 1669; d 1695) and Johann Joachim Pfeiffer (1662-1701). Although he initially leant towards historical painting, later he painted only still-lifes. Resident in Rome from 1685 to 1695, he was introduced into the city's Flemish/Italian circle of artists by Gaspar van Wittel. He worked occasionally with Pieter van Bloemen and Carel van Vogelaer (1653-95), then became a follower of Carlo Maratti, who painted the figures in his still-lifes. Through Maratti he gained commissions from the Roman patrician families, and their patronage made him known in Spain, France, England and Germany.

Franz Werner Von Tamm.
TAMM, Franz Werner von.
Franz Werner von Tamm on artnet .
Franz Werner Von Tamm.

Franz Werner von Tamm.
Franz Werner VON TAMM.
Franz Werner von Tamm .

Franz Werner von Tamm (1658 - 1724)

:: Pellegrini, Giovanni Antonio...

2008-08-15T22:28:00.005+01:00

PELLEGRINI, Giovanni Antonio
(b. 1675, Venezia, d. 1741, Venezia)

Biography
Venetian decorative painter, who was a pupil of Sebastiano Ricci and one of the most important of Tiepolo's predecessors. Like Pittoni, he worked for many foreign patrons and travelled widely. He was first recorded as a painter in 1703 and soon after this he married the sister of Rosalba Carriera, who mentions him in her diary on several occasions. In 1707 Lord Manchester went on an embassy to Venice; he commissioned a picture to celebrate the event from Carlevaris and brought Pellegrini and Marco Ricci back to London with him in 1708. Pellegrini soon had considerable success and became a Director of Kneller's Academy in 1711.
Vertue says that Pellegrini 'painted prodigious quick, had a very noble and fruitfull invention' which may be seen in the decorations at Kimbolton Castle (now a school), done for Lord Manchester, or in the decorations at Castle Howard (1709, mostly destroyed in 1941). In these decorative series Pellegrini shows that he was a true precursor of Tiepolo in the lightness and gaiety of his touch which contrasts with the duller history painting of Pittoni.
In 1713 he went to Germany and Flanders; returning to England in 1719 when, according to Vertue, he was less successful because Marco Ricci had sent for his uncle Sebastiano, who was generally agreed to be a better painter. Pellegrini also painted a splendid ceiling for the Bank of France (since destroyed) in Paris, decorated the Great Hall in the Mauritshuis in The Hague (1718), and worked in Prague, Dresden and Vienna. There is a sketch of 1710 in London (Victoria and Albert Museum) which may represent his design for the cupola of St Paul's for which, according to Vertue, 'he made several designs and a moddle for painting the Cupolo at St Paul's for which he was paid tho' he had not the cupolo to paint'. There are works by him in Barnard Castle (Bowes Museum), Berlin, Birmingham, Boston, Cleveland Ohio, Dresden, Dublin, The Hague, Leeds, London (National Gallery), Oxford (Ashmolean), Paris (Louvre), Toledo Ohio, Vienna and elsewhere.

Giovanni Antonio Pellegrini.
PELLEGRINI, Giovanni Antonio
Pellegrini, Giovanni Antonio.
Giovanni Antonio Pellegrini (1675 - 1741)
Giovanni Antonio Pellegrini
Giovanni Antonio Pellegrini
Museu de Arte de São Paulo
Giovanni Antonio Pellegrini
Giovanni Antonio Pellegrini
Giovanni Antonio Pellegrini

:: Teniera, David The YOUNGER...

2008-08-15T22:21:00.019+01:00

TENIERS, David the Younger
(b. 1610, Antwerpen, d. 1690, Bruxelles)

Biography
Prolific Flemish painter of the Baroque period known for his genre scenes of peasant life. He was the son and pupil of David Teniers the Elder. In 1637 he married Anna, daughter of the painter Jan Brueghel the Elder.
Teniers painted almost every kind of picture, but chiefly genre scenes of peasant life, many of which were subsequently used for tapestry designs in the 18th century. His early works in this vein show the influence of Adriaen Brouwer (e.g., Twelfth-night, Museo del Prado, Madrid). Many of his finer works date from 1640 to 1650. He was brilliant at handling crowd scenes in an open landscape and adept at characterizing his figures with a warm, human, and often humorous touch (e.g., The Village Fête, 1646; Hermitage, St. Petersburg). His landscape settings are atmospheric, and his still-life details precise. In the same decade he also painted a number of monumental processions (e.g., Procession of the Antwerp Civic Guards, 1643; Hermitage, St. Petersburg).
Teniers developed a second career in 1651 when he moved to Brussels, becoming court painter and keeper of the art collections to the regent of the Netherlands, the archduke Leopold William. He painted several views of the Archduke's picture gallery. He also made many small-scale individual copies of paintings in the Duke's collection by foreign artists, especially Italians. Of these, 244 were engraved in 1660 under the title Theatrum Pictorium. As a pictorial inventory of a great 17th-century collection, this book of engravings was unique in its time and still constitutes a valuable source for the art historian.
Teniers was also court painter to Don John of Austria, who succeeded the Archduke as regent in 1656, and was one of the prime movers in the foundation of the Brussels Academy of Fine Arts (1663) and subsequently the Academy in Antwerp (1665). Teniers' son, also named David (1638-85), often imitated his father's work. There are several of his altarpieces in churches in Belgium.

Flemish painter (b. 1610, Antwerpen, d. 1690, Bruxelles)
Paintings (page 1)
Paintings (page 2)

David Teniers Real Art

David Teniers The .

David Teniers the Younger.

David the Younger .

David Teniers the Younger.

David Teniers the Younger .

David Teniers the Younger.

TENIERS the Younger, David .

David Teniers the Younger .

HowStuffWorks "Teniers, David, the Younger" .

CATHOLIC ENCYCLOPEDIA: David Teniers .

Biographies of David the Younger Teniers .

:: Paolini, Pietro...

2008-08-15T22:02:00.002+01:00

PAOLINI, Pietro
(b. 1603, Lucca, d. 1681, Lucca)

Biography
Italian painter. He was the son of Tommaso Paolini and Ginevra Raffaelli, both from Lucca. In 1619 Paolini's father sent him to study under Angelo Caroselli in Rome. His artistic formation was also influenced by the circle of Italian and, especially, northern European followers of Bartolomeo Manfredi, who were active in Rome between 1620 and 1630. The following works, though undocumented, may be dated to this Roman period: Martha and Mary Magdalene (Rome, Galeria Pallavicini), the Concert of Female Musicians (Malibu, Getty Museum) and the Bacchic Concert (private collection). Paolini's first religious works, such as the Deposition (Lucca, S Frediano), as well as many portraits, also show signs of Roman influence. Around 1628 he went to Venice, where he stayed for two years. The effects of this visit can be seen in his later religious works, such as the Virgin and Saints (Rome, Palazzo Barberini) and the Virgin and Saints (Lucca, Villa Guinigi), and also in his history paintings, such as Esther and Ahasuerus (Denver, Art Museum).
He returned to Lucca in 1631, where, from these early experiences, he created an original style, in which he painted cabinet pictures, often on musical or allegorical themes, such as the Ages of Life (private collecton) and the series Music, Astronomy, Geometry, Philosophy (private collection). Around 1650 he opened, at his own expense, an academy based on the principle of 'art from nature', at which numerous artists, such as Girolamo Scaglia, Antonio Franchi, Simone del Tintore and his brother Francesco were trained. Paolini introduced still-life painting in Lucca, for example Still-life with Flowers, Fruit and a Dove in Flight (Potenza, Palazzo S Gervasio), a genre with which he had considerable success.
Pietro Paolini .
Pietro Paolini .
Pietro Paolini (1603 - 1681).
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Pietro Paolini.
Pietro Paolini .
Pietro Paolini .
Pietro Paolini .

:: Palomino, Acislo Antonio...

2008-08-15T19:12:00.002+01:00

PALOMINO, Acislo Antonio
(b. 1655, Bujalance, Córdoba, d. 1726, Madrid)

Biography
Spanish historical painter and writer on art, called the Spanish Vasari. (His full name is Acisclo Antonio Palomino de Castro y Velasco.) He was born of good family and studied philosophy, theology and law in Cordoba, receiving also lessons in painting from Valdes Leal, who visited Córdoba in 1672, and afterwards from Alfaro (1675). He moved to Madrid in 1678 and married soon afterwards. In 1688 he was appointed painter to the king. He visited Valencia in 1697, and remained there three or four years devoting himself to fresco painting. Between 1705 and 1715 he resided for considerable periods at Salamanca, Granada and Córdoba. After the death of his wife in 1725 Palomino took priests orders.
He painted frescoes and easel pictures in Valencia, Córdoba, and Granada, but he is famous chiefly for his history of art (in 3 volumes, 1715-24), the third volume of which contains a wealth of biographical material concerning Spanish artists of the 16th and 17th centuries. It was partially translated into English in 1739; an abridgment of the original was published in London in 1742, and afterwards appeared in a French translation in 1749. A German version was published at Dresden in 1781, and a reprint of the entire work at Madrid in 1797.

Antonio Palomino .
PALOMINO, Acislo Antonio.
Acislo Antonio Palomino de Castro y Velasco ..

:: Metsu, Gabriel...

2008-08-10T14:55:00.009+01:00

METSU, Gabriel
(b. 1629, Leiden, d. 1667, Amsterdam)

Biography
Dutch painter, active in his native Leiden, then in Amsterdam, where he had moved by 1657. Houbraken says he trained with Dou, but Metsu's early works are very different from his - typically historical and mythological scenes, broadly rather than minutely painted. Metsu also painted portraits and still-lifes, but his most characteristic works are genre scenes, some of which rank among the finest of their period. He concentrated on scenes of genteel middle-class life, fairly close to de Hooch and Terborch in style, but with a personal stamp. One of his best-known works, The Sick Child (Rijksmuseum, Amsterdam), is often compared with Vermeer. His work is rarely dated, so his development and relationships with

METSU, Gabriel

Gabriel Metsu

Biographies of Gabriel Metsu

Gabriel Metsu
Gabriel Metsu

Gabriel Metsu
Metsu, Gabriel

Metsu, Gabriel
METSU, Gabriel. Oil on canvas. Museo ThyssenGabriel Metsu

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2008-08-10T14:54:00.001+01:00

:: A Criança doente Pintura de Gabriel Metsu...

2008-08-10T14:48:00.003+01:00

O quadro "A criança doente" traz um bebê doente e abatido que se esvalece no colo de uma mulher. Do lado deles tem um armário, uma tigela com colher. Atrás, um mapa aberto e um quadro mostrando a cruxificação de Cristo. Possivelmente há mais a ser visto nesta imagem de Gabriel Metsu do que parece à primeira vista. Pode ser que a mulher represente a virtude de Cristo e o amor ao próximo. A obra está exposta no Rijksmuseum, museu nacional dos Países Baixos, localizado em Amsterdã.
(Com colaboração de Catharina Mafra)

Via Blog do Noblat

:: Teniers, David the Younger...

2008-08-02T23:56:00.010+01:00

TENIERS, David the Younger
(b. 1610, Antwerpen, d. 1690, Bruxelles)

Biography
Prolific Flemish painter of the Baroque period known for his genre scenes of peasant life. He was the son and pupil of David Teniers the Elder. In 1637 he married Anna, daughter of the painter Jan Brueghel the Elder.
Teniers painted almost every kind of picture, but chiefly genre scenes of peasant life, many of which were subsequently used for tapestry designs in the 18th century. His early works in this vein show the influence of Adriaen Brouwer (e.g., Twelfth-night, Museo del Prado, Madrid). Many of his finer works date from 1640 to 1650. He was brilliant at handling crowd scenes in an open landscape and adept at characterizing his figures with a warm, human, and often humorous touch (e.g., The Village Fête, 1646; Hermitage, St. Petersburg). His landscape settings are atmospheric, and his still-life details precise. In the same decade he also painted a number of monumental processions (e.g., Procession of the Antwerp Civic Guards, 1643; Hermitage, St. Petersburg).
Teniers developed a second career in 1651 when he moved to Brussels, becoming court painter and keeper of the art collections to the regent of the Netherlands, the archduke Leopold William. He painted several views of the Archduke's picture gallery. He also made many small-scale individual copies of paintings in the Duke's collection by foreign artists, especially Italians. Of these, 244 were engraved in 1660 under the title Theatrum Pictorium. As a pictorial inventory of a great 17th-century collection, this book of engravings was unique in its time and still constitutes a valuable source for the art historian.
Teniers was also court painter to Don John of Austria, who succeeded the Archduke as regent in 1656, and was one of the prime movers in the foundation of the Brussels Academy of Fine Arts (1663) and subsequently the Academy in Antwerp (1665). Teniers' son, also named David (1638-85), often imitated his father's work. There are several of his altarpieces in churches in Belgium.

Paintings (page 1)
Paintings (page 2)

David Teniers the Younger
David Teniers the Younger

David Teniers the Younger
TENIERS the Younger, David
David Teniers The Younger
David, the Younger"
David Teniers the Younger
David Teniers the Younger

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2008-08-02T23:37:00.003+01:00

:: Teniers, David The Elder...

2008-08-02T23:14:00.002+01:00

TENIERS, David the Elder
(b. 1582, Antwerpen, d. 1649, Antwerpen)

Biography
David Teniers the Elder (David I) was a Flemish Late Mannerist painter, mainly of religious subjects, who worked in Antwerp. He may have been associated with Rubens before going to Rome, where he worked in the Elsheimer circle, c. 1600-05. He became a master in Antwerp in 1606, but was constantly in debt and was active mainly as a dealer in his last years. The working lives of David the Elder and his son David the Younger (David II) - by far the most famous of the family - overlapped in the 1630s, and it is not clear who painted certain pictures in that period; what is clear that many of the paintings ascribed to David I in the 19th century are by David II.

David Teniers the Elder
David Teniers
David Teniers The Elder
David Teniers the Elder
David Teniers, the Elder
CATHOLIC ENCYCLOPEDIA: David Teniers
David Teniers
Teniers, David
David Teniers the Elder
David Teniers

:: Tempel Abraham Van Den...

2008-08-02T23:03:00.005+01:00

Abraham van den Tempel
Robert Herrick.
Abraham van den Tempel
Abraham Lambertsz Jacobsz van den Tempel
Abraham Lamberts Jacobsz van den Tempel
Tempel, Abraham van den
Abraham Van Den Tempel

:: Tamm, Franz Werner von...

2008-08-02T22:22:00.002+01:00

TAMM, Franz Werner von
(b. 1658, Hamburg, d. 1724, Wien)

Biography
German painter, active in Italy and Austria. He was first trained in Hamburg by Dietrich von Sosten (fl 1669; d 1695) and Johann Joachim Pfeiffer (1662-1701). Although he initially leant towards historical painting, later he painted only still-lifes. Resident in Rome from 1685 to 1695, he was introduced into the city's Flemish/Italian circle of artists by Gaspar van Wittel. He worked occasionally with Pieter van Bloemen and Carel van Vogelaer (1653-95), then became a follower of Carlo Maratti, who painted the figures in his still-lifes. Through Maratti he gained commissions from the Roman patrician families, and their patronage made him known in Spain, France, England and Germany.

Franz Werner Von Tamm
Franz Werner von Tamm
Franz Werner Von Tamm

Franz Werner von Tamm (1658 - 1724)
Franz Werner von Tamm
Franz Werner von Tamm
Franz Werner VON TAMM
FRANZ WERNER TAMM
VON TAMM Franz Werner

:: Raffaello Sanzio...

2008-07-23T18:01:00.008+01:00

RAFFAELLO Sanzio
(b. 1483, Urbino, d. 1520, Roma)

Biography
Raphael (his full name Raffaello Sanzi or Santi), Italian painter and architect of the Italian High Renaissance. Raphael is best known for his Madonnas and for his large figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur.
Early years at Urbino
Raphael was the son of Giovanni Santi and Magia di Battista Ciarla; his mother died in 1491. His father was, according to the 16th-century artist and biographer Giorgio Vasari, a painter "of no great merit." He was, however, a man of culture who was in constant contact with the advanced artistic ideas current at the court of Urbino. He gave his son his first instruction in painting, and, before his death in 1494, when Raphael was 11, he had introduced the boy to humanistic philosophy at the court.
Urbino had become a centre of culture during the rule of Duke Federico da Montefeltro, who encouraged the arts and attracted the visits of men of outstanding talent, including Donato Bramante, Piero della Francesca, and Leon Battista Alberti, to his court. Although Raphael would be influenced by major artists in Florence and Rome, Urbino constituted the basis for all his subsequent learning. Furthermore, the cultural vitality of the city probably stimulated the exceptional precociousness of the young artist, who, even at the beginning of the 16th century, when he was scarcely 17 years old, already displayed an extraordinary talent.
Apprenticeship at Perugia
The date of Raphael's arrival in Perugia is not known, but several scholars place it in 1495. The first record of Raphael's activity as a painter is found there in a document of Dec. 10, 1500, declaring that the young painter, by then called a "master," was commissioned to help paint an altarpiece to be completed by Sept. 13, 1502. It is clear from this that Raphael had already given proof of his mastery, so much so that between 1501 and 1503 he received a rather important commission - to paint the Coronation of the Virgin for the Oddi Chapel in the church of San Francesco, Perugia (and now in the Vatican Museum, Rome). The great Umbrian master Pietro Perugino was executing the frescoes in the Collegio del Cambio at Perugia between 1498 and 1500, enabling Raphael, as a member of his workshop, to acquire extensive professional knowledge.
In addition to this practical instruction, Perugino's calmly exquisite style also influenced Raphael. The Giving of the Keys to St Peter, painted in 1481-82 by Perugino for the Sistine Chapel of the Vatican Palace in Rome, inspired Raphael's first major work, The Marriage of the Virgin (1504; Brera Gallery, Milan). Perugino's influence is seen in the emphasis on perspectives, in the graded relationships between the figures and the architecture, and in the lyrical sweetness of the figures. Nevertheless, even in this early painting, it is clear that Raphael's sensibility was different from his teacher's. The disposition of the figures is less rigidly related to the architecture, and the disposition of each figure in relation to the others is more informal and animated. The sweetness of the figures and the gentle relation between them surpasses anything in Perugino's work.
Three small paintings done by Raphael shortly after The Marriage of the Virgin - Vision of a Knight, Three Graces, and St Michael - are masterful examples of narrative painting, showing, as well as youthful freshness, a maturing ability to control the elements of his own style. Although he had learned much from Perugino, Raphael by late 1504 needed other models to work from; it is clear that his desire for knowledge was driving him to look beyond Perugia.
Move to Florence
Vasari vaguely recounts that Raphael followed the Perugian painter Bernardino Pinturicchio to Siena and then went on to Florence, drawn there by accounts of the work that Leonardo da Vinci and Michelangelo were undertaking in that city. By the autumn of 1504 Raphael had certainly arrived in Florence. It is not known if this was his first visit to Florence, but, as his works attest, it was about 1504 that he first came into substantial contact with this artistic civilization, which reinforced all the ideas he had already acquired and also opened to him new and broader horizons. Vasari records that he studied not only the works of Leonardo, Michelangelo, and Fra Bartolomeo, who were the masters of the High Renaissance, but also "the old things of Masaccio," a pioneer of the naturalism that marked the departure of the early Renaissance from the Gothic.
Still, his principal teachers in Florence were Leonardo and Michelangelo. Many of the works that Raphael executed in the years between 1505 and 1507, most notably a great series of Madonnas including The Madonna of the Goldfinch (c. 1505; Uffizi Gallery, Florence), the Madonna del Prato (c. 1505; Kunsthistorisches Museum, Vienna), the Esterházy Madonna (c. 1505-07; Museum of Fine Arts, Budapest), and La Belle Jardinière (c. 1507; Louvre Museum, Paris), are marked by the influence of Leonardo, who since 1480 had been making great innovations in painting. Raphael was particularly influenced by Leonardo's Madonna and Child with St. Anne pictures, which are marked by an intimacy and simplicity of setting uncommon in 15th-century art. Raphael learned the Florentine method of building up his composition in depth with pyramidal figure masses; the figures are grouped as a single unit, but each retains its own individuality and shape. A new unity of composition and suppression of inessentials distinguishes the works he painted in Florence. Raphael also owed much to Leonardo's lighting techniques; he made moderate use of Leonardo's chiaroscuro (i.e., strong contrast between light and dark), and he was especially influenced by his sfumato (i.e., use of extremely fine, soft shading instead of line to delineate forms and features). Raphael went beyond Leonardo, however, in creating new figure types whose round, gentle faces reveal uncomplicated and typically human sentiments but raised to a sublime perfection and serenity.
In 1507 Raphael was commissioned to paint the Deposition of Christ that is now in the Borghese Gallery in Rome. In this work, it is obvious that Raphael set himself deliberately to learn from Michelangelo the expressive possibilities of human anatomy. But Raphael differed from Leonardo and Michelangelo, who were both painters of dark intensity and excitement, in that he wished to develop a calmer and more extroverted style that would serve as a popular, universally accessible form of visual communication.
Last years in Rome
Raphael was called to Rome toward the end of 1508 by Pope Julius II at the suggestion of the architect Donato Bramante. At this time Raphael was little known in Rome, but the young man soon made a deep impression on the volatile Julius and the papal court, and his authority as a master grew day by day. Raphael was endowed with a handsome appearance and great personal charm in addition to his prodigious artistic talents, and he eventually became so popular that he was called "the prince of painters."
Raphael spent the last 12 years of his short life in Rome. They were years of feverish activity and successive masterpieces. His first task in the city was to paint a cycle of frescoes in a suite of medium-sized rooms in the Vatican papal apartments in which Julius himself lived and worked; these rooms are known simply as the Stanze. The Stanza della Segnatura (1508-11) and Stanza d'Eliodoro (1512-14) were decorated practically entirely by Raphael himself; the murals in the Stanza dell'Incendio (1514-17), though designed by Raphael, were largely executed by his numerous assistants and pupils.
The decoration of the Stanza della Segnatura was perhaps Raphael's greatest work. Julius II was a highly cultured man who surrounded himself with the most illustrious personalities of the Renaissance. He entrusted Bramante with the construction of a new basilica of St. Peter to replace the original 4th-century church; he called upon Michelangelo to execute his tomb and compelled him against his will to decorate the ceiling of the Sistine Chapel; and, sensing the genius of Raphael, he committed into his hands the interpretation of the philosophical scheme of the frescoes in the Stanza della Segnatura. This theme was the historical justification of the power of the Roman Catholic church through Neoplatonic philosophy.
The four main fresco walls in the Stanza della Segnatura are occupied by the Disputa and the School of Athens on the larger walls and the Parnassus and Cardinal Virtues on the smaller walls. The two most important of these frescoes are the Disputa and the School of Athens. The Disputa, showing a celestial vision of God and his prophets and apostles above a gathering of representatives, past and present, of the Roman Catholic church, equates through its iconography the triumph of the church and the triumph of truth. The School of Athens is a complex allegory of secular knowledge, or philosophy, showing Plato and Aristotle surrounded by philosophers, past and present, in a splendid architectural setting; it illustrates the historical continuity of Platonic thought. The School of Athens is perhaps the most famous of all Raphael's frescoes, and one of the culminating artworks of the High Renaissance. Here Raphael fills an ordered and stable space with figures in a rich variety of poses and gestures, which he controls in order to make one group of figures lead to the next in an interweaving and interlocking pattern, bringing the eye to the central figures of Plato and Aristotle at the converging point of the perspectival space. The space in which the philosophers congregate is defined by the pilasters and barrel vaults of a great basilica that is based on Bramante's design for the new St Peter's in Rome. The general effect of the fresco is one of majestic calm, clarity, and equilibrium.
About the same time, probably in 1511, Raphael painted a more secular subject, the Triumph of Galatea in the Villa Farnesina in Rome; this work was perhaps the High Renaissance's most successful evocation of the living spirit of classical antiquity. Meanwhile, Raphael's decoration of the papal apartments continued after the death of Julius in 1513 and into the succeeding pontificate of Leo X until 1517. In contrast to the generalized allegories in the Stanza della Segnatura, the decorations in the second room, the Stanza d'Eliodoro, portray specific miraculous events in the history of the Christian church. The four principal subjects are The Expulsion of Heliodorus from the Temple, The Miracle at Bolsena, The Liberation of St Peter, and Leo I Halting Attila. These frescoes are deeper and richer in colour than are those in the earlier room, and they display a new boldness on Raphael's part in both their dramatic subjects and their unusual effects of light. The Liberation of St Peter, for example, is a night scene and contains three separate lighting effects - moonlight, the torch carried by a soldier, and the supernatural light emanating from an angel. Raphael delegated his assistants to decorate the third room, the Stanze dell'Incendio, with the exception of one fresco, the Fire in the Borgo, in which his pursuit of more dramatic pictorial incidents and his continuing study of the male nude are plainly apparent.
The Madonnas that Raphael painted in Rome show him turning away from the serenity and gentleness of his earlier works in order to emphasize qualities of energetic movement and grandeur. His Alba Madonna (1508; National Gallery, Washington) epitomizes the serene sweetness of the Florentine Madonnas but shows a new maturity of emotional expression and supreme technical sophistication in the poses of the figures. It was followed by the Madonna di Foligno (1510; Vatican Museum) and the Sistine Madonna (1513; Gemäldegalerie, Dresden), which show both the richness of colour and new boldness in compositional invention typical of Raphael's Roman period. Some of his other late Madonnas, such as the Madonna of Francis I (Louvre), are remarkable for their polished elegance. Besides his other accomplishments, Raphael became the most important portraitist in Rome during the first two decades of the 16th century. He introduced new types of presentation and new psychological situations for his sitters, as seen in the portrait of Leo X with Two Cardinals (1517-19; Uffizi, Florence). Raphael's finest work in the genre is perhaps the Portrait of Baldassare Castiglione (1516; Louvre), a brilliant and arresting character study.
Leo X commissioned Raphael to design 10 large tapestries to hang on the walls of the Sistine Chapel. Seven of the ten cartoons (full-size preparatory drawings) were completed by 1516, and the tapestries woven after them were hung in place in the chapel by 1519. The tapestries themselves are still in the Vatican, while seven of Raphael's original cartoons are in the British royal collection and are on view at the Victoria and Albert Museum in London. These cartoons represent Christ's Charge to Peter, The Miraculous Draught of Fishes, The Death of Ananias, The Healing of the Lame Man, The Blinding of Elymas, The Sacrifice at Lystra, and St Paul Preaching at Athens. In these pictures Raphael created prototypes that would influence the European tradition of narrative history painting for centuries to come. The cartoons display Raphael's keen sense of drama, his use of gestures and facial expressions to portray emotion, and his incorporation of credible physical settings from both the natural world and that of ancient Roman architecture.
While he was at work in the Stanza della Segnatura, Raphael also did his first architectural work, designing the church of Sant' Eligio degli Orefici. In 1513 the banker Agostino Chigi, whose Villa Farnesina Raphael had already decorated, commissioned him to design and decorate his funerary chapel in the church of Santa Maria del Popolo. In 1514 Leo X chose him to work on the basilica of St Peter's alongside Bramante; and when Bramante died later that year, Raphael assumed the direction of the work, transforming the plans of the church from a Greek, or radial, to a Latin, or longitudinal, design.
Raphael was also a keen student of archaeology and of ancient Greco-Roman sculpture, echoes of which are apparent in his paintings of the human figure during the Roman period. In 1515 Leo X put him in charge of the supervision of the preservation of marbles bearing valuable Latin inscriptions; two years later he was appointed commissioner of antiquities for the city, and he drew up an archaeological map of Rome. Raphael had by this time been put in charge of virtually all of the papacy's various artistic projects in Rome, involving architecture, paintings and decoration, and the preservation of antiquities.
Raphael's last masterpiece is the Transfiguration (commissioned in 1517), an enormous altarpiece that was unfinished at his death and completed by his assistant Giulio Romano. It now hangs in the Vatican Museum. The Transfiguration is a complex work that combines extreme formal polish and elegance of execution with an atmosphere of tension and violence communicated by the agitated gestures of closely crowded groups of figures. It shows a new sensibility that is like the prevision of a new world, turbulent and dynamic; in its feeling and composition it inaugurated the Mannerist movement and tends toward an expression that may even be called Baroque.
Raphael died on his 37th birthday. His funeral mass was celebrated at the Vatican, his Transfiguration was placed at the head of the bier, and his body was buried in the Pantheon in Rome.

Raffaello Sanzio

Rafael
Rafael Sanzio

Rafael

Raffaello Sanzio

Raffaello Sanzio

Raffaello Sanzio

Biography

Raphael
Raphael

Raphael

Resultados de imagens para raffaello sanzio

:: Tapestries and their cartoons...

2008-07-23T17:54:00.009+01:00

Tapestries and their cartoons
by RAFFAELLO
The Sistine Chapel was the official private chapel of the popes, where the Conclave, the body which elected a new pope, also met. The rebuilding of St Peter's made it necessary for other high-level ceremonies to be held in the Chapel. Pope Sixtus IV della Rovere, the uncle of Julius II, had had the Sistine Chapel built, and had commissioned the leading artists in Florence in the late 15th century to adorn it with episodes from the lives of Christ and Moses. He also had imitation tapestries showing the della Rovere coat-of arms painted.
On important Church feast days venerable wall-hangings were hung in front of these simulated tapestries. The hangings depicted scenes of Christ's Passion, and, according to one legend, they came originally from Jerusalem. In Leo X's opinion these had become too worn and unsightly and had therefore to be replaced. The timing was clearly excellent, for this replacement gave Leo an opportunity to leave behind a visible sign of his own papacy in the most important chapel in Christendom. The coat-of arms of Leo X, commissioned from Raphael, unmistakably adorns the borders of the new tapestries.
Initially a scholar was presumably commissioned to provide a program for the cycle of tapestries, and instructed to select the scenes that would accord with the key features of the new pope's ecclesiastical policy while remaining in keeping with the decoration already there. Leo expected Raphael to interpret these themes artistically. Presumably, Raphael was commissioned to do this in late 1514 or early 1515; by June 1515 he had received an advance payment. The designs were completed by late 1516, since we have documentary evidence that the final payment was made on 20 December.
The tapestries were woven in the finest tapestry workshop of the day, that of Pieter van Aelst in Brussels. One tapestry was completed by 1517, and seven tapestries were ready to be hung in the Sistine Chapel for the Christmas festivities of 1519. Three others must have arrived shortly before Leo's death in 1521, for the inventory made just after his death lists a total of ten tapestries. During the Sack of Rome in 1527, these works were stolen, and were not returned until the 1550s. Seven of the cartoons - designs drawn to scale - are in the Victoria and Albert Museum, London. The tapestries themselves, all woven by Pieter van Aelst, are now in the Vatican Museums.
The tapestries recount stories from the Acts of the Apostles. Four scenes depict scenes from the life of St Peter. These are The Handing-over of the Keys; The Miraculous Draught of Fishes; The Healing of the Lame Man; and The Death of Ananias. The other six tapestries illustrate scenes from the life of St Paul. They are: The Stoning of St Stephen, which depicts an event St Paul ordered; The Conversion of St Paul; The Blinding of the Sorcerer, Elymas; The Sacrifices in Lystra; St Paul in Prison; and St Paul Preaching in Athens. St Peter and St Paul were both martyred in Rome, a fact that substantiated and legitimated the choice of this city as the seat of the papacy. Leo X was using the program of the tapestries to demonstrate this, and thus to assert that ecclesiastically his immediate predecessors had been right to return to Rome after the so-called Babylonian Captivity in Avignon.
In the task he had set himself Raphael was facing a double challenge. First, he was well aware how important this project was to Leo X. Secondly, he felt overshadowed by Michelangelo's Sistine ceiling, by which he knew he would be measured as an artiSt Michelangelo had achieved impressive and in some cases extreme colour effects.
Raphael remembered his own pictorial effects, as demonstrated in the frescoes of the Stanza di Eliodoro. In his designs he staked everything on the atmospheric effects of the light and colour, enlivened by contrasts and delicate nuances. In this respect, however, the final outcome was a failure, in that he had over-estimated the technical potential of tapestry weaving. All the same, the tapestries were an enormous success when shown in the Sistine Chapel in 1519.

Early paintings (up to 1504)
Paintings during the stay in Florence (1505-09)
Paintings during trips to Umbria (1505-08)
Decoration of the Stanze in the Palazzi Pontifici, Vatican
Paintings in Rome (1510-20)
Tapestries and their cartoons
Drawings

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2008-07-23T17:48:00.007+01:00

Raffaello
Raphael (Raffaello Sanzio)

(Raffaello Sanzio)

Raffaello Sanzio

WebMuseum: Raphael

:: Stanza di Constantino...

2008-07-23T17:42:00.006+01:00

Stanza di Constantino
by RAFFAELLO's workshop
The frescoes in the Stanza di Constantino were executed by Raphael's pupils after his death. The work was coordinated by Giulio Romano who also painted the main scenes: The Vision of the Cross, The Battle at Pons Milvius, and the Donation of Rome. The room is named after the subjects of the frescoes.
After the death of Raphael, Michelangelo had applied to Leo X through Sebastiano, del Piombo, an artist with whom Michelangelo was on friendly terms, to decorate the Stanza di Constantino. However, despite the great success of his work in the Sistine Chapel, Michelangelo was rejected on the grounds that Raphael's pupil already had their master's designs, and it was these that would be painted.
The theme of the Sala di Costantino is the Church's rightful possession of lands supposedly donated to it by the Emperor Constantine in submission to the will of God. Since the deed of the Donation of Constantine had been proved to be a forgery dating from AD 750, Pope Leo X was here attempting to re-establish the Church's rightful claim.

Stanza della Segnatura
Stanza di Eliodoro
Stanza dell'Incendio di Borgo
Stanza di Constantino

:: Stanza dell'Incendio di Borgo...

2008-07-23T17:39:00.005+01:00

Stanza dell'Incendio di Borgo
by RAFFAELLO
In the room of the Fire in the Borgo Raphael's workshop from 1514 to 1517 illustrated historical episodes in which the protagonists are the Popes who took the name of Leo. This room contains episodes like the Fire in the Borgo, in which a miracle performed by Pope Leo IV caused a fire raging in Rome in 847 to be extinguished; the Battle of Ostia, in which the Saracens were lost in a storm at sea, presumably because of the presence of Leo IV, and the Coronation of Charlemagne by Pope Leo III on Christmas Day, 799. Here the illustration of themes drawn from the past mixes with the celebration of the political projects of the present Pope, in this case Leo X's reconciliation with France. The fourth subject, the Oath of Leo III, anticipates the numerous representations of popes and bishops in assizes which became common during the Counter Reformation in the late 16th century.

:: Stanza di Eliodoro

2008-07-23T17:24:00.007+01:00

Stanza di Eliodoro
by RAFFAELLO
After the completion of the Stanza della Segnatura, Raphael began the decoration of the adjacent room, afterwards called the Stanza di Eliodoro, after the subject of one of the works painted there. The cycle was painted between September 1511 and June 1514. Julius II died during this period and his successor, Leo X (Giovanni de' Medici, son of Lorenzo the Magnificent) caused the last scenes to be completed.
The program for this room was not a traditional one: the subjects were developed specifically for this room and for Julius II personally. The general theme is that of God's intervention in human destiny and it is presented through four stories, two from the Acts of Apostles and the Apocrypha (The Expulsion of Heliodorus from the Temple; The Liberation of St Peter) and two from Church history (The Meeting between Leo the Great and Attila; The Mass at Bolsena). The vaults of the ceiling represent episodes of divine intervention in the history of Israel (the Burning Bush, the Announcement of the Flood to Noah, Jacob's Dream, the Sacrifice of Isaac).
The cycle is mainly descriptive. Raphael develops it with those characteristics of dignity and grandiosity which were by then his trademarks. He enhances his compositions by breaking up the symmetry and the enclosed rhythm of the Stanza della Segnatura with more lively and colourful effects.
The pope intended to use this room as a private audience chamber. Accordingly, the frescoes were meant to illustrate the power of the Church and its representatives.

:: Stanza della Segnatura...

2008-07-23T17:21:00.006+01:00

Stanza della Segnatura
by RAFFAELLO
The first of Pope Julius II's rooms in the papal appartments to be decorated with Raphael's frescoes was the study in which the "Signatura gratiae" tribunal was originally located (Stanza della Segnatura). The artist's concept brings into harmony the spirits of Antiquity and Christianity.
The humanist quadripartition of culture - theology, philosophy, poetry and justice - has a parallel in the four elements making up the universe: air, water, fire and earth. Each of these is represented by an allegorical painting on the walls of this room: the Disputation of the Holy Sacrament, the School of Athens, the Parnassus and the Virtues (Fortitude, Prudence, Temperance), respectively.
The first composition Raphael executed in 1509 is the so-called Disputa or Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. Toward the end of 1509, Raphael began work on the wall opposite the Disputa. This second fresco, entitled the School of Athens, represents the truth acquired through reason. Raphael began the third composition at the end of 1509 or the beginning of 1510. It represents Parnassus, the dwelling place of Apollo and the Muses and the home of poetry, according to classical myth. The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511.

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2008-07-23T16:59:00.009+01:00

Raffaello
(Raffaello Sanzio

(Raffaello Sanzio)

Raffaello Sanzio

WebMuseum: Raphael

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2008-07-23T16:41:00.013+01:00

Raphael was born on 6 April 1483 to Giovanni Santi and Màgia Ciarla. His father, a painter, was well known in artistic circles in Urbino. His works contain motifs from various sources, among them Perugino and Melozzo da Forli. Two artists were working in his father's workshop during Raphael's childhood: Evangelista da Pian di Meleto and Timoteo Viti da Urbino. The latter undoubtedly more deeply influenced the very young Raphael. Around the beginning of the 16th century Raphael met Pietro Perugino, who influenced his painting perhaps more than any other painter.

Raffaello

Raffaello Sanzio

(Raffaello Sanzio)

Raffaello Sanzio
WebMuseum: Raphael

:: Raeburn, Sir Henry...

2008-07-23T16:29:00.003+01:00

RAEBURN, Sir Henry
(b. 1756, Stockbridge, d. 1823, Edinburgh)

Biography
Leading Scottish portrait painter during the late 18th and early 19th centuries.
In about 1771 Raeburn was apprenticed to the goldsmith James Gilliland and is said to have studied with the Edinburgh portrait painter David Martin briefly in 1775. But for the most part Raeburn was self-taught, progressing from miniature painting to full-scale portraiture. A portrait of George Chalmers (1776; Dunfermline Town Hall) is Raeburn's earliest known portrait, and its faulty drawing and incorrect perspective suggest the artist's lack of formal training. By his marriage to a wealthy widow in 1778, he achieved financial security, and during the next four years he considerably improved his artistic skill. In London in 1785, while en route to a tour of Italy, he met Sir Joshua Reynolds, whose works were already familiar to him from Scottish collections and engravings.
A man of many interests and a good conversationalist, Raeburn became a popular member of the new cultured Edinburgh society. By about 1790 he had painted the portrait of his wife (Countess Mountbatten Collection) and the double portrait of Sir John and Lady Clerk (Sir Alfred Beit Collection), in which the artist experimented with unusual lighting from behind the sitters' heads. During the following decade Raeburn produced some of his most brilliant portraits, such as Sir John Sinclair (c. 1794-95; National Gallery of Scotland, Edinburgh), which foreshadowed The MacNab (c. 1803-13; John Dewar and Sons, Ltd., London), in which tonalities became darker and lighting more contrasted. In 1812 he was elected president of the Edinburgh Society of Artists, becoming a Royal Academician in 1815. He was knighted in 1822 and shortly thereafter was appointed His Majesty's Limner for Scotland.

Sir Henry Raeburn
Henry Raeburn
Sir Henry Raeburn (1756 - 1823)
Sir Henry Raeburn posters

:: François Bouchen...

2008-06-29T17:50:00.003+01:00

Boucher

Francois Boucher

François Boucher

Francois Boucher Biography

Francois Boucher

François Boucher - Wikipédia

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2008-06-29T16:58:00.001+01:00

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:: Boucher, François...

2008-06-29T16:43:00.009+01:00

BOUCHER, François
(b. 1703, Paris, d. 1770, Paris)

Biography
French Rococo painter, engraver, and designer, who best embodies the frivolity and elegant superficiality of French court life at the middle of the 18th century. He was for a short time a pupil of François Lemoyne and in his early years was closely connected with Watteau, many of whose pictures he engraved. In 1727-31 he was in Italy, and on his return was soon busy as a versatile fashionable artist. His career was hugely successful and he received many honours, becoming Director of the Gobelins factory in 1755 and Director of the Academy and King's Painter in 1765. He was also the favourite artist of Louis XV's most famous mistress, Mme de Pompadour, to whom he gave lessons and whose portrait he painted several times (Wallace Collection, London; National Gallery, Edinburgh).
Boucher mastered every branch of decorative and illustrative painting, from colossal schemes of decoration for the royal châteaux of Versailles, Fontainebleau, Marly, and Bellevue, to designs for fans and slippers. In his typical paintings he turned the traditional mythological themes into wittily indecorous scènes galantes, and he painted female flesh with a delightfully healthy sensuality, notably in the celebrated Reclining Girl (Alte Pinakothek, Munich. 1751), which probably represents Louis XV's mistress Louisa O'Murphy. Towards the end of his career, as French taste changed in the direction of Neoclassicism, Boucher was attacked, notably by Diderot, for his stereotyped colouring and artificiality; he relied on his own repertory of motifs instead of painting from the life and objected to nature on the grounds that it was 'too green and badly lit'. Certainly his work often shows the effects of superficiality and overproduction, but at its best it has irresistible charm and great brilliance of execution. qualities he passed on to his most important pupil, Fragonard.

Paintings until 1749
Paintings from 1750

:: François Boucher...

2008-06-29T16:34:00.004+01:00

Odalisca, de François Boucher
François Boucher nasceu em Paris, em 1703, e morreu ali mesmo em 1770. O pintor foi um dos principais artistas decorativos da sua época. Embora tenha vivido num século dominado pelo Barroco, identificava-se mais com o Rococó. As suas pinturas eram cheias de encanto e sedução, repletas de ninfas nuas em cenas mitológicas e alegóricas.

O quadro "Odalisca" (1745) está exposto no Museu do Louvre, em Paris. A jovem nua deitada numa cama em meio a vários lençóis faz pose provocante e interage com o espectador. Na pintura de Odalisca, Boucher quis mostrar os excessos frívolos de meados do século XVIII.

François Boucher

François Boucher - Wikipedia

WebMuseum: Boucher, François

François Boucher

OCAIW - François Boucher

OCAIW - O nu na historia da arte: François Boucher

Francois Boucher

François Boucher (1703–1770)

:: Hals, Dirck...

2008-06-28T23:14:00.012+01:00

HALS, Dirck
(b. 1591, Haarlem, d. 1656, Haarlem)

Biography
Dirck was the younger brother of Frans Hals who was probably also his teacher, but the painters who influenced Dirck were Esaias van de Velde and Willem Buytewech. Apart from a few portraits, he devoted himself exclusively to the painting of conversation pieces - the cheerful domestic life of prosperous burghers in their houses or gardens. He was not interested in the serious side of life; in his work he depicted people in conversation or while flirting, making music and dancing, eating and drinking. His interiors are hardly worked out, all the emphasis is put on fashionable dress and colourful representation. He succeeded in putting across people's high spirits through facial expression, costly dress, posture and loose grouping.

Dirck Hals
Dirck Hals
Dirck Hals
Hals Dirck
Biographies of Dirck Hals

Dirck Hals - Wikipedia
Artists
Dirck Hals

:: Jouvenet, Jean - Baptiste...

2008-06-28T23:03:00.004+01:00

JOUVENET, Jean-Baptiste
(b. 1644, Rouen, d. 1717, Paris)

Biography
French painter, the outstanding member of a family of artists from Rouen. He went to Paris in 1661 and joined the studio of Lebrun. His early works, including decorations for the Salon de Mars at Versailles, were closely imitative of the style of Lebrun and Eustache Le Sueur (St Bruno in Prayer, Nationalmuseum, Stockholm). He was the most distinguished of the group of artists who collaborated with La Fosse in the decorations at Trianon and Les Invalides, but he is now best remembered as the leading French religious painter of his generation, carrying out numerous major commissions for churches in Paris and elsewhere. His later work was marked both by Baroque emotionalism and by a realistic treatment of details foreign to the principles encouraged by the Academy. It is recorded, for example, that before painting his Miraculous Draught of Fishes (Louvre, Paris, c. 1706) he studied fishing scenes on the spot at Dieppe.

JOUVENET, Jean-Baptiste
Jean Baptiste Jouvenet
Jean Baptiste Jouvenet
Jouvenet, Jean-Baptiste
Jean-Baptiste Jouvenet
Jean Jouvenet (1644 - 1717)
Jean Baptiste Jouvenet
Jean-Baptiste Jouvenet
Jouvenet Jean Baptiste

Biblical Art

:: Jongh, Ludolf de...

2008-06-28T22:44:00.005+01:00

JONGH, Ludolf de
(b. 1616, Overschie, d. 1679, Hillegersberg)

Biography
Dutch painter, who studied with Delft portraitist Cornelis Saftleven in Rotterdam and a Caravaggesque painter in Utrecht, then from 1635, he studied for seven years in France. His known earliest paintings were executed in Rotterdam around 1642 and were portraits and genre subjects. By the late 1640s, his genre subjects and hunting scenes show the influence of the Utrecht Caravaggisti, especially Jacob Duck.
He was probably Rotterdam's leading painter during the 1650's and kept in style with the developments in Dutch painting. Demonstrating his interest in Dutch painting's latest innovations, his portraiture became more expressive and his space more clearly defined, and he grew more concerned with light. This work greatly influenced the young Pieter de Hooch.
He gradually stopped painting after 1660 when he became involved with law enforcement in Rotterdam.
Unlike most Dutch painters of the 1600s, who were specialists, Ludolf de Jongh painted portraits, genre paintings, landscapes, and historical subjects. As a result of this wide variety of subject matter, his works have frequently been attributed to others. Moreover, he signed few paintings, and his style often changed in response to new developments in Dutch painting.

Ludolf de Jongh
Ludolf Leendertsz. de Jongh
Ludolf De Jongh (1616 - 1679)
JONGH, Ludolf de

Ludolf de Jongh

Ludolf de Jongh
Ludolf de Jongh

:: Johnson, Cornelius...

2008-06-28T22:40:00.001+01:00

JOHNSON, Cornelius
(b. 1593, London, d. 1661, Utrecht)

Biography
Anglo-Dutch portrait painter born in London of Dutch parents (originally Cornelis Jonson van Ceulen). He perhaps trained in Holland and he settled there in 1643, but he worked mainly in London, where he had an extensive practice. Johnson was at his best when working on a fairly small scale, showing a sensitive gift for characterization. He painted in a straightforward but sensitive Dutch manner sometimes indistinguishable from that of Mytens. After 1632 he came under van Dyck's influence, but in Holland he adopted a more Dutch manner, closer to that of Miereveld.

Cornelius Johnson
Cornelius Johnson
Cornelius Johnson

:: Janssens, Abraham...

2008-06-28T22:34:00.004+01:00

JANSSENS, Abraham
(b. 1575, Antwerpen, d. 1632, Antwerpen)

Biography
Flemish figure and portrait painter, active mainly in Antwerp. He was in Rome in 1598 and back in Antwerp by 1601. A second visit to Italy seems likely, for although in 1601 he was painting in a Mannerist style (Diana and Callisto, Museum of Fine Arts, Budapest), by 1909 (Scaldis and Antwerpia, Musée Royal, Antwerp) his work had become much more solid, sober, and classical, suggesting close knowledge of Caravaggio in particular. For the next decade Janssens was one of the most powerful and individual painters in Flanders, but during the 1620s his work became less remarkable as he fell under the all-pervasive influence of Rubens. His pupils included Gerard Seghers and Theodoor Rombouts.

Abraham Janssens
Abraham Janssens - Wikipedia
Abraham Janssens
Abraham Janssens
JANSSENS, Abraham
Abraham Janssens (1573 - 1632)

:: Janssens, Victoe Honoré...

2008-06-28T22:24:00.002+01:00

JANSSENS, Victor Honoré
(b. 1658, Bruxelles, d. 1736, Bruxelles)

Biography
Flemish painter and draughtsman. He was apprenticed to Lancelot Volders (fl 1657-?75) in Brussels from 1668 to 1675. He also studied with the Dutchman Pieter Molyn. He came under the patronage of Herzog Joachim II von Holstein-Plön, who supported his trip to Italy. In Rome he studied the works of Raphael and the ancient monuments and made drawings of the Roman Campagna. His highly popular small paintings were influenced by those of Francesco Albani. Janssens also painted a large altarpiece for the Jesuits of Naples.

Victor Honoré Janssens
Victor Honore Janssens

:: Seicento Napoletano... Del Natualismo al Barroco...

2008-06-28T12:55:00.001+01:00

La exposición: 'Seicento Napoletano. Del Naturalismo al Barroco'
Via 20MINUTOS.ES.

Ampliar foto'Un Apostol', de Francesco Fracanzano.
Fotogalería Guía práctica Los autores Las obras.
'Seicento napoletano. Del naturalismo al barroco' es el título de esta exposición que presenta y organiza la Fundación Banco Santander en la Sala de exposiciones de la Real Academia de Bellas Artes de San Fernando del 14 de mayo al 13 de julio, con una extraordinaria selección de más de cincuenta obras de pintura napolitana del siglo XVII -edad de oro artística en Nápoles- que se presenta por primera vez en Madrid.
La muestra incluye a los napolitanos más relevantes y a autores como el español José RiberaEn la muestra no sólo se darán cita los creadores napolitanos más relevantes, sino también autores que forman parte ya de la iconografía de la pintura universal como el español José Ribera o los italianos Gentileschi, Lucas Giordano o Caracciolo, que dieron a la pintura una calidad, una riqueza de luces y de sombras, y una variedad de temáticas que han venido a ser verdaderos documentos para el presente; sino también otros nombres más desconocidos para el público en general, pero que constituyeron una verdadera legión de maestros de este periodo, cubriendo con sus encargos buena parte de los gustos de la Corte española, del Virreinato de Nápoles y otras cortes europeas. La exposición, que parte de un intenso Ecce homo de Giovan Battista Caracciolo, viene a plantear la evolución desde un primer naturalismo hasta la liberación del barroco, y en ella conviven la quietud de escenas silenciosas con el clasicismo más sosegado, o bien la monumentalidad de composiciones arriesgadas, con la intimidad y el detalle de las naturalezas muertas. La catalogación de todas las pinturas va precedida de dos excelentes trabajos. El primero es obra del experto en arte napolitano y Comisario de la muestra, Nicola Spinosa, Superintendente de los bienes artísticos e históricos y de los museos napolitanos, Profesor Universitario, autor de numerosas publicaciones y restauraciones artísticas en Nápoles. El segundo reedita un estudio de nuestro gran especialista Alfonso E. Perez Sánchez, realizado en 1985 y actualizado para la ocasión, que trata de las relaciones entre España y la pintura napolitana del Seicento.

Seicento Napoletano: del Naturalismo al Barroco

:: Jordaens, Jacob...

2008-06-13T19:51:00.022+01:00

JORDAENS, Jacob
(b. 1593, Antwerpen, d. 1678, Antwerpen)

Biography
Flemish painter, the pupil and son-in-law of Adam van Noort. Although Jordaens often assisted Rubens, he had a flourishing studio of his own by the 1620s, and after Rubens's death in 1640 he was the leading figure painter in Flanders. His style was heavily indebted to Rubens, but was much more earthbound, using thick impasto, strong contrasts of light and shade, and colouring that is often rather lurid. His physical types, too, are coarser than Rubens's and his name is particularly associated with large canvases of hearty rollicking peasants. Two of his favourite subjects, which he depicted several times are The Satyr and the Peasant, based on one of Aesop's fables, and The King Drinks, which depicts a boisterous group enjoying an abundant Twelfth Night feast. Jordaens's prolific output, however, included many other subjects, including religious works and portraits, and he also etched and made designs for tapestries.
He rarely left his native Antwerp, but commissions came from all over Europe, the most important being The Triumph of Frederick Hendrik (1651-2), an enormous composition painted for the Huis ten Bosch, the royal villa near The Hague. In about 1655 Jordaens became a Calvinist; he continued to paint pictures for Catholic churches, but the work of the last two decades of his life is more subdued.

Jacob Jordaens

Web Gallery of Art
Jacob Jordaens

Jacob Jordaens - Wikipedia

Jacob Jordaens

Jacob Jordaens (1593 - 1678)

Jacob Jordaens

:: Reni, Guido...

2008-06-11T18:13:00.022+01:00

RENI, Guido
(b. 1575, Calvenzano, d. 1642, Bologna)

Biography
Italian painter of popular religious works and critically acclaimed mythological scenes. He was born in Bologna and began to study painting at the age of nine; he joined the Carracci Academy when he was 20. His studies were rounded off by a trip to Rome in about 1600. From that moment on, antique and recent Roman art became his ideals. He admired Raphael unconditionally. He did, however, come to terms with Caravaggio's naturalism in a group of youthful works such as The Crucifixion of St Peter in the Vatican Gallery (1604), where the use of chiaroscuro provided enormous energy.
He alternated between living in his native Bologna and visits to Rome. After Annibale Carracci's death (1609) he became the leader of the classical school of Emilian painters. His adhesion to this school can be seen in the frescos he painted in Rome in about 1610 in the Quirinal Palace, the Vatican, and various churches (e.g. San Gregorio Magno al Cielo). They were inspired by the return to classical taste and culminated in Aurora in Palazzo Ludovisi which has almost mimetic qualities. The large altarpieces he painted in Bologna - The Massacre of the Innocents and Pietà dei Mendicanti both in the Bologna Pinacoteca Nazionale - mark the triumph of design, the ability to control and channel feelings, gestures, expressions, drawing, and colour into a single, eloquent, and faultless form. Guido Reni's success was underlined by the important commissions he received. They included the cycle of The Labors of Hercules (1617-21) that he painted for the Duke of Mantua and which are now in the Louvre. He exalted the clarity of light, the perfection of the body, and lively colour. Toward the end of his life, Reni modified his style. His paintings became so airy as to seem insubstantial and were almost completely monochrome. He also used long, flowing brushstrokes and conveyed an atmosphere laden with intense melancholy.
Guido Reni was a quintessentially classical academic but he was also one of the most elegant painters in the annals of art history. He was constantly seeking an absolute, rarefied perfection which he measured against classical Antiquity and Raphael. Because of this, over the years the Bolognese painter has been in and out of fashion, depending on the tastes of the times. The eighteenth century loved him, the nineteenth century, persuaded by the violent criticism of John Ruskin, hated him. But even his detractors cannot deny the exceptional technical quality of his work nor the clarity of his supremely assured and harmonious brushwork.

Guido Reni - Wikipédia
Guido Reni - Wikipedia
RENI, Guido
Guido Reni

Guido Reni Guido

Guido Reni
Guido Reni (1575 - 1642)

:: Padovanino...

2008-06-11T18:00:00.005+01:00

PADOVANINO
(b. 1588, Padova, d. 1649, Venezia)

Biography
Italian painter, originally Alessandro Varotari. He was the son of Dario Varotari (d. 1598), a painter and architect, pupil of Veronese, and of Samaritana, the daughter of Giovan Battista Ponchino. The family is of German origin (Weyrother).
His earliest training is unknown, though Boschini (1674) stated that Padovanino studied by copying the frescoes of Titian in the Scuola di S Antonio, Padua, and other works by the master, above all those of his youth or his early maturity. The influence of Titian remained fundamental to Padovanino's art. The Incredulity of St Thomas (1610; Padua, S Lucia) is his first dated work and faithfully imitates that of Titian; other youthful works are direct copies, among them The Pentecost (Venice, Accademia) and the Virgin and Child (Padua, Cathedral).
He moved to Venice in 1614 and settled there until his death thirty-five years later. Though today he is principally thought of as a follower of Titian, and indeed he is known to have painted a number of copies after the master's works, Padovanino was a talented and successful painter in his own right. He went on at least two visits to Rome (in the mid-1610s and again in 1625), during which he was able to study the works of Michelangelo and Annibale Carracci, but Palma Giovane and of course Titian remained the over-riding influences in his work.

Padovanino Online
Padovanino
Padovanino, Il Alessandro Varotari
Padovanino

::Arte... Serenidade...

2008-05-17T17:19:00.002+01:00

:: González Y Serrano, Bartolomé...

2008-05-16T13:39:00.006+01:00

GONZÁLEZ Y SERRANO, Bartolomé
(b. 1564, Valladolid, d. 1627, Madrid)

Biography
Spanish painter. He spent his early years in Valladolid and Madrid. According to Palomino, he was trained with Patricio Cajés, but also important was the influence of Italian Mannerism at the court (1600-06) of Philip III in Valladolid. Knowledge of naturalistic works by such Italians as Orazio Borgianni, with their monumental forms and chiaroscuro, also determined González's style, especially as a religious painter. González is first documented in 1606, after which he worked for the court in Burgos, Lerma, El Pardo and El Escorial. In 1608 he witnessed the will of the court portraitist, Pantoja de la Cruz, who died that year. González succeeded Pantoja de la Cruz in the completion of the royal portaits for the gallery of the palace of El Pardo, which replaced those destroyed by fire in 1604. One of his earliest known portraits is that of Margaret of Austria (1609; Madrid, Prado), which shows the influence of Pantoja de la Cruz.

Bartolome Gonzalez y Serrano

Bartolome Gonzalez

Margaret of Austria (1584-1611) - Wikipedia

Person Page

Bartolomé González y Serrano
Bartolomé González y Serrano
Bartolome Gonzalez Y Serrano
Johan the Baptist by Gonzalez y Serrano
Serrano Bartolomé Biography

:: Falcone, Aniello...

2008-05-13T01:08:00.003+01:00

FALCONE, Aniello
(b. 1607, Napoli, d. 1656, Napoli)

Biography
Neapolitan painter. He was one of the most prominent artists in Naples in the generation before the plague of 1656 (in which he died), and did religious paintings, some in fresco, for several churches in the city. His only complete surviving fresco cycle, however, is the History of Moses in the Villa Roomer at Barra, and he is now remembered mainly as the first specialist in battle pieces, a genre that won him an international reputation and in which he inspired his pupil Salvator Rosa. Falcone was also an outstanding draughtsman.

Aniello Falcone - Wikipedia

Aniello Falcone Artworks
Aniello Falcone
Aniello Falcone Research

Aniello Falcone Posters at AllPosters.

Aniello Falcone on artnet

:: Fabritius, Barent...

2008-05-13T00:51:00.004+01:00

FABRITIUS, Barent
(b. 1624, Midden-Beemster, d. 1673, Amsterdam)

Biography
Dutch painter and draughtsman, brother of Carel Fabritius. Like Carel, he was first taught painting by his father, also learnt carpentry and practised as an artisan in Midden-Beemster in 1641. He is documented in Amsterdam in 1643 and 1647, though it is not known if, like his brother, he was also a pupil of Rembrandt. Nevertheless, his style is similar to that of the Rembrandt school. He must have been trained in the second half of the 1640s. His work is reminiscent of the style of his brother, who clearly influenced and may also have instructed him.
In 1652 Barent lived in Amsterdam and married Catharina Mussers in Midden-Beemster. In the following years he is documented alternately in Midden-Beemster and Amsterdam. He painted a group portrait of the town master builder, Willem Leenderstsz. van der Helm and his Family (1656; Amsterdam, Rijksmuseum), in Leiden, and in 1660-61 he received further commissions for the Lutheran church in Leiden.
From 1669 Barent lived with his family in Amsterdam, where he died at the age of 49. He was buried in the churchyard in Leiden that was usually reserved for the poorer inhabitants of Amsterdam. He left behind a wife, who lived until 1701, and six children.

Barent Fabritius
Barent Fabritius (Dutch painter)
Barent Fabritius (1624 - 1673)
Barent Fabritius - Wikipédia
The National Gallery
Barent Fabritius

Barent Fabritius
Barent Fabritius Artworks

:: Frémin, René...

2008-05-13T00:44:00.003+01:00

FRÉMIN, René
(b. 1672, Paris, d. 1744, Paris)

Biography
French sculptor. A pupil of François Girardon and Antoine Coysevox, he won the Prix de Rome in 1694 and spent the years 1695-99 in Rome, where he contributed two elegant Baroque bronze bas-reliefs, from drawings by Andrea Pozzo, to the sculptural ensemble of the altar of S Ignazio in Il Gesu (in situ). On his return to France he was approved (agréé) by the Académie Royale in 1700 and received (reçu) as an academician the following year on presentation of the bas-relief Time Unveiling Truth (marble; frags, Paris, École Nationale Supérieure des Beaux-Arts). At the Salon of 1704 he exhibited an ambitious stone group of Hercules Abducting Deianera (Chantilly, Château, park), which recalls the great groups of Giambologna and Gianlorenzo Bernini as well as the sculpture of Versailles.
He was invited to work at La Granja by the Spanish king, Philip V, Louis XIV's grandson, and left France in 1721, finally returning only in 1738, having accumulated a large fortune. His finest achievements lie in Spain, chiefly in the gardens of La Granja, near Segovia. Fremin's work at La Granja was considerable. His task was to adorn a transplanted Versailles, in a much more rewarding natural setting, with a constant supply of vases, avenues of statues, and elaborate groups for fountains, often in the medium of lead. Before leaving France he had gained experience working in lead and in a comparable decorative idiom for Marly and for Versailles itself.

Rene Fremin Online

:: Feuchtmayr, Joseph Anton...

2008-05-13T00:33:00.005+01:00

FEUCHTMAYR, Joseph Anton
(b. 1696, Wessobrun, d. 1770, Wessobrun)

Biography
German Rococo stuccoist and sculptor, the most famous member of a family of artists from Wessobrun in Bavaria. A virtuoso carver and stuccoist, he did a great deal of decorative work for buildings in the Lake Constance area. The greatest ensemble of his works is in the pilgrimage church of Neu-Birnau (1746-53); it includes his most famous figure, the Honey-licking Putto.

Biblical Art
Biblical Art
Mannerist, and Baroque Architecture
Feuchtmayer - Wikipedia
Johann Michael Feuchtmayer
Feuchtmayr, Joseph Anton
PriceArt Feuchtmayr Joseph Anton

::

2008-05-13T00:24:00.001+01:00

:: Longhi, Pietro...

2008-05-13T00:10:00.010+01:00

LONGHI, Pietro
(b. 1702, Venezia, d. 1783, Venezia)

Biography
Italian painter, the son of a goldsmith (his real surname was Pietro Falca), Pietro Longhi tried without much success to become one of the group of eighteenth-century Venetian painters so much in demand for large-scale decorations. His youthful work included frescos in the Palazzo Sagredo which reveal his lack of talent in this field. But at about the age of 40, Longhi managed to find his own creative voice which soon made him a specialist in a highly successful new genre. Drawing on his memories of youthful studies with Giuseppe Maria Crespi (an important precursor to Longhi's brand of genre painting), he began painting small canvases on everyday subjects, showing real places and people.
Unlike most view-painters at the same time, normally forced to seek foreign patrons, Longhi mainly worked for local patrons and collectors, including the noble families of Grimani, Barbarigo, and Manin. Longhi prepared his work by making careful preparatory sketches. He concentrated almost exclusively on small-scale canvases depicting the modest day-to-day activities of aristocratic Venetian families. The wonderful amiability of these episodes of no earth-shaking importance is marked by an observant, often gently satirical touch. The playwright Goldoni called Longhi a "man seeking the truth", but his was not a very harassing quest.
In later life Longhi also produced two interesting cycles of paintings. One was a series showing the Seven Sacraments while the other depicted Hunters in the valley. Both are now in the Pinacoteca Querini-Stampalia in Venice.
Longhi occasionally painted more than one version of his own compositions, and these again were often duplicated by pupils and followers. Alessandro Longhi (1733-1813), the son of Pietro, was a successful portraitist.

Pietro Longhi

Pietro Longhi - Wikipedia

Pietro Longhi -- Britannica

Pietro Longhi

Pietro Longhi (1701 - 1785)

OCAIW - Pietro Longhi

Pietro Longhi paintings

:: Ribera, Jusepe de...

2008-05-09T15:16:00.006+01:00

RIBERA, Jusepe de
(b. 1591, Játiva, d. 1652, Napoli)

Biography
José (or Jusepe) de Ribera, Spanish painter, etcher, and draughtsman, active for all his known career in Italy, where he was called 'Lo Spagnoletto' (the Little Spaniard). Little is known of his life before he settled in Naples (at the time a Spanish possession) in 1616. Naples was then one of the main centres of the Caravaggesque style, and Ribera is often described as one of Caravaggio's followers.
However, although his early work is markedly tenebrist, it is much more individual than that of most Caravaggesque artists, particularly in his vigorous and scratchy handling of paint. Similarly, his penchant for the typically Caravaggesque theme of bloody martyrdom has been overplayed, enshrined as it is in Byron's lines: 'Spagnoletto tainted/His brush with all the blood of all the sainted' (Don Juan, xiii. 71). He undoubtedly painted some powerful pictures of this type, notably the celebrated Martyrdom of St Bartholomew (Prado, Madrid, c. 1630), but he was equally capable of great tenderness, as in The Adoration of the Shepherds (Louvre, Paris, 1650), and his work is remarkable for his feeling for individual humanity. Indeed, he laid the foundation of that respect for the dignity of the individual which was so important a feature of Spanish art from Velázquez to Goya.
This feature of his work is evident also in the secular subjects, such as The Clubfooted Boy (Louvre, 1642). He was the first to breach the traditional Spanish dislike for mythological themes (Apollo and Marsyas, Musées Royaux, Brussels, 1637), and he broadened the Baroque repertory by his series of philosophers depicted as beggars or vagabonds (Archimedes, Prado, 1630).
Ribera gradually moved away from his early tenebrist style, and his late works are often rich in colour and soft in modelling. He was the leading painter in Naples in his period (Velázquez visited him during his second visit to Italy and probably during his first) and his work was influential in Spain (where much of it was exported) as well as in Italy. His reputation has remained high, and until the Napoleonic Wars he and Murillo were virtually the only Spanish painters who were widely known outside their native country.

Jusepe de Ribera - Olga's Gallery
Jusepe de Ribera. Biography
Jusepe de Ribera - Wikipedia
Jusepe de Ribera Online

JUSEPE DE RIBERA (1591-1652)
RIBERA, Jusepe de

CATHOLIC ENCYCLOPEDIA: Jusepe de Ribera
Jusepe de Ribera
CGFA- Jusepe de Ribera

:: Sassoferrato...

2008-05-09T14:46:00.009+01:00

SASSOFERRATO
(b. 1609, Sassoferrato, d. 1685, Roma)

Biography
Giovanni Battista Salvi, Italian painter known by the name of his town of birth - Sassoferrato - and active in nearby Urbino and other cities of central Italy, notably Rome (where he was a pupil of Domenichino) and Perugia. He did some portraits but specialized in religious works painted in an extremely sweet, almost Peruginesque style. They are very clearly drawn and pure in colouring and totally un-Baroque in feeling - indeed they have a deliberately archaic quality that brings the paintings of the Nazarenes (a group of young, idealistic German painters of the early 19th century) to mind.
Little is known of his life (in the 18th century it was evidently generally believed he was a contemporary of Raphael) and few of his pictures are dated or datable; they seem to have been in great demand, however, as his compositions often exist in numerous very similar versions. Most of them were presumably done for private collectors, as few are in churches. Examples of his work are in many galleries and a fine collection of his drawings (virtually his entire surviving output as a draughtsman) is in the Royal Library at Windsor Castle.

Sassoferrato
Giovanni Battista Salvi da Sassoferrato - Wikipedia
Sassoferrato - Wikipedia

Sassoferrato (Italian artist)

Sassoferrato (1609 - 1685) Artwork
Sassoferrato (Giovanni Battista Salvi)
Giovanni Battista Salvi (Il Sassoferrato)

:: Saraceni, Carlo...

2008-05-09T14:34:00.008+01:00

SARACENI, Carlo
(b. 1579, Venezia, d. 1620, Venezia)

Biography
Saraceni spent almost all his career in Rome, where he formed his style under the influence of Caravaggio and Elsheimer, painting small luminous pictures of figures in landscapes as well as much larger altarpieces, including the replacement of Caravaggio's Death of the Virgin (Louvre, Paris), which the church of Sta Maria della Scala had rejected in 1606. Saraceni's picture is still "in situ". He painted several other smaller variants or versions of the picture, so the design was evidently popular. His style was sensitive and poetic, showing a delicate feeling for colour and tone. His liking for turbans, tasselled fringes, and stringy drapery folds, and his richly impasted paint may have influenced Dutch artists in Rome such as Lastman and Pynas, and through them Rembrandt.

Carlo Saraceni
Carlo Saraceni (1579 - 1620)
Carlo Saraceni Posters
The National Gallery Picture Library
Venus SARACENI, Carlo
Saraceni, Carlo oil painting
saraceni carlo

Carlo Saraceni
Carlo Saraceni (Italian painter)
Carlo Saraceni
Carlo Saraceni - Wikipedia
Carlo Saraceni (Getty Museum)
Carlo Saraceni
The Birth of Christ c. 1610 Saraceni, Carlo oil painting
OCAIW - O nu na historia da arte: Carlo Saraceni

:: Sacchi, Andrea...

2008-05-09T14:14:00.007+01:00

Andrea
Sacchi, Andrea (Italian, 1599-1661)
Andrea Sacchi: Marcantonio Pasqualini (1614-1691)
Saar F. Sacchi Andrea Saftleven
CGFA- Misc. Artists -S- Page 1

Andrea Sacchi – Wikipedia

ARTEHISTORIA - Genios de la Pintura Sacchi, Andrea

Andrea Sacchi on artnet

:: Ochtervelt, Jacob...

2008-05-09T13:59:00.006+01:00

OCHTERVELT, Jacob
(b. 1634, Rotterdam, d. 1682, Amsterdam)

Biography
Ochtervelt was a Dutch genre painter active mainly in Rotterdam, but from 1674 he lived in Amsterdam. He was influenced by Pieter de Hooch and through him by Vermeer. Apart from a few portraits and some early hunting party and "merry company" scenes, his paintings are almost all elegant upper-class interiors, in which he showed off a skill in painting silks and satins to rival that of Terborch. His figures are extremely refined, but there is often a sexual element in his painting.

Jacob Ochtervelt

Jacob Ochtervelt

Jacob OCHTERVELT Art

:: Nieulandt, Adriaen van, the Younger...

2008-05-09T13:50:00.005+01:00

NIEULANDT, Adriaen van, the Younger
(b. 1587, Antwerpen, d. 1658, Amsterdam)

Biography
Painter, draughtsman, engraver and broker, member of a Dutch family of artists of Flemish origin. The family can be traced back as far as Jacob van Nijeulandt, who is recorded as a citizen of Antwerp in 1561. One of his four children, Willem van Nieulandt (1533-96), married Adriana Nouts (d 1608), and they had three sons: Willem van Nieulandt I (1560-1626), Joris van Nieulandt (1561-1626) and Adriaen van Nieulandt (d 1603). Willem I was the first artist in the family. A painter and draughtsman, he lived and worked in Rome, where he was known as Guglielmo Terranova and where he became a member of the Accademia di S Luca in 1604. His brother Adriaen was a pedlar and pen merchant and moved to Amsterdam with his family in 1589, probably because they were Calvinists. Adriaen's sons, Willem van Nieulandt II, Adriaen van Nieulandt the Younger and Jacob van Nieulandt, all became painters.
Adriaen van Nieulandt the Younger was a pupil of Pieter Isaacsz. and Frans Badens (1571-1618) in Amsterdam. Unlike his brother, he apparently did not travel. In 1628 Adriaen was installed as a broker; he also valued works of art. Among his documented commissions were 11 paintings on copper for the chapel of King Christian IV of Denmark in Frederiksborg Castle near Hillerod (destroyed by fire, 1859). He specialized in landscapes and interiors with secular and biblical incidental characters.

Adriaen van Nieulandt the younger

:: Netscher, Caspar...

2008-05-09T13:41:00.007+01:00

NETSCHER, Caspar
(b. 1639, Prague, d. 1684, The Hague)

Biography
Dutch painter. Houbraken makes inconsistent statements about his birthplace, mentioning both Heidelberg and Prague, and there is similar doubt about his birthdate. Most of his career was spent in The Hague, where he settled in 1661/62, but he trained in Deventer with Terborch. From his master he took his predilection for depicting costly materials - particularly white satin. He painted genre scenes and some religious and mythological subjects, but from about 1670 he devoted himself almost exclusively to portraits, often for court circles in The Hague. His reputation was such that Charles II invited him to England. His work, elegant, Frenchified, small in scale, and exquisitely finished, influenced Dutch portraiture into the 18th century, his followers including his sons Constantijn (1688-1723) and Theodor (1661-1732).

Caspar Netscher
Caspar Netscher - Wikipedia
Caspar Netscher
Caspar Netscher
Caspar Netscher

Biographies of Caspar

Caspar Netscher

Caspar Netscher Biography

:: Neer, Eglon van der...

2008-05-09T13:32:00.006+01:00

NEER, Eglon van der
(b. 1634, Amsterdam, d. 1703, Düsseldorf)

Biography
Eglon van der Neer was the son of Aert van der Neer, the Dutch landscapist active in Amsterdam. Eglon painted landscapes as well as history pictures, portraits, and genre scenes, was more peripatetic and had greater financial success than his father.
At the beginning of his career Eglon travelled in France where he worked for the Dutch governor of Orange. He returned to Amsterdam by 1659. From 1664 until 1679, Rotterdam was his base. Thereafter he spent a decade in Brussels. He was appointed court painter of Charles II of Spain in 1687; however, he apparently never made the trip to the king's court. In 1690 he accepted the post of court painter to the Elector Palatine, Johann Willhelm in Düsseldorf. Adriaen der Werff, Eglon's pupil, made contact with the Elector Palatine in 1696 and quickly became his favourite. However, Eglon continued to hold his position until his death in 1703.

Eglon Hendrick van der Neer
Eglon van der Neer - Wikipedia
Artfacts.Net: Eglon van der Neer
The Metropolitan Museum of Art, New
BestPriceArt Search Eglon van der Neer
A Gallery of Dutch Masters
Van Der Neer

:: Nattier, Jean Marc...

2008-05-09T13:13:00.018+01:00

NATTIER, Jean-Marc
(b. 1685, Paris, d. 1766, Paris)

Biography
French portrait painter. His father, Jean (c. 1642-1705), was a painter and his mother, Marie Courtois (c. 1655-1703), was a miniaturist. He was one of the most successful artists at the court of Louis XV, excelling in the vogue for painting women in mythological or allegorical fancy dress - or undress - transforming his matrons into goddesses (Mme de Lambesc as Minerva, Louvre, Paris, 1737). His portraits are little concerned with individual characterization, but they show fluency, vivacity, and a relaxed charm. He was at his best with women and has been accused of 'painting with make-up', a comment that suggests the pastel-like delicacy of his handling. Taste was turning against him towards the end of his career and some of his later work shows signs of fatigue. His brother Jean-Baptiste (1678-1726) was also a painter; he committed suicide after being expelled by the Académie.

Jean-Marc Nattier
Jean-marc Nattier (1685 - 1766)
CGFA- Jean Marc Nattier
Jean-Marc Nattier
Jean-Marc Nattier - Wikipédia

Jean-Marc Nattier
Jean Marc Nattier on artnet
Jean-Marc Nattier - Wikipedia

Biographies of Jean-Marc Nattier

:: Natoire, Charles-Joseph...

2008-05-09T12:58:00.004+01:00

NATOIRE, Charles-Joseph
(b. 1700, Nimes, d. 1777, Castel Gandolfo)

Biography
French painter, draughtsman and teacher, active also in Italy. An exact contemporary of François Boucher, he was a painter of cabinet pictures, decorations and tapestry cartoons and one of the most adept practitioners of Rococo art in 18th-century France. The greater part of his career was spent in Paris, where he received important commissions from Louis XV as well as from private patrons. In 1751 he accepted the post of Director of the Académie de France in Rome. From then on he devoted himself to his teaching duties at the expense of his painting. He remained in Rome for the rest of his life.

Charles-Joseph Natoire - Wikipédia

Charles-joseph Natoire (1700 - 1777)

Charles Joseph Natoire

The Expulsion from Paradise, by Charles Joseph Natoire

Charles-Joseph Natoire (Getty Museum

OCAIW - Charles-Joseph Natoire
Charles-joseph Natoire

Charles Natoire - Artist,

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2008-05-09T12:38:00.000+01:00

:: Parodi, Filippo...

2008-05-08T21:49:00.006+01:00

PARODI, Filippo
(b. 1630, Genova, d. 1702, Genova)

Biography
Italian sculptor and wood-carver. He first worked as a wood-carver and went to Rome twice, staying for six years each time. The time Parodi spent in Rome is vital for the understanding of the stylistic characteristics of his work. The crowning of the pediment of the altar of the Virgin in S Maria delle Vigne, Genoa, with allegorical figures of Faith, Hope and Charity follows a composition that occurs frequently in Roman churches, and four statues representing characters from Ovid’s Metamorphoses (Narcissus, Hyacinth, Heliantha and Flora, all Genoa, Palazzo Reale) reveal a thorough knowledge of Roman Baroque sculpture. These works, and a large carved wooden looking-glass in the Villa Durazzo at Albisola, Genoa, probably date not much later than 1661.

Filippo Parodi

Filippo Parodi (Italian sculptor)
Filippo Parodi - Wikipedia,
Parodi Filippo

Parodi Filippo,

:: Palamedesz, Antonie...

2008-05-08T21:39:00.006+01:00

PALAMEDESZ., Antonie
(b. 1601, Delft, d. 1673, Amsterdam)

Biography
Dutch portrait and genre painter, active mainly in his native Delft. He was a pupil of Miereveld and Dirk Hals and his paintings resemble those of his masters - his portraits rather wooden, his 'merry company' groups of soldiers, cavaliers,and their ladies livelier and pleasantly coloured. His younger brother Palamedes I Palamedesz. and his nephew Palamedes II Palamedesz. (1633-1705) were both painters.

Antonie Palamedesz (1601 - 1673)
Palamedesz, Antonie
Antonie Palamedesz Paintings
Antonie Palamedesz
PALAMEDESZ, Antonie
PALAMEDESZ, Antonie
PALAMEDESZ, Antonie Australian
PALAMEDESZ, Antonie China Oil Painting
PALAMEDESZ, Antonie
PALAMEDESZ, Antonie

:: Padovanino...

2008-05-08T21:23:00.004+01:00

Padovanino Online
Padovanino, Il Alessandro Varotari
Padovanino ( - ) Artwork Images
The National Gallery Picture
Padovanino Francesco Padovanino
Alessandro Padovanino Prints
Alessandro Varotari