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Citations
Early
Modern
Works cited
Early
Modern
Books
Journals and encyclopedia articles
Further reading
See Kemp (2003) and Bambach (2019, pp. 442–579) for extensive bibliographies
External links
General
Universal Leonardo, a database of Leonardo's life and works maintained by Martin Kemp and Marina Wallace
Leonardo da Vinci on the National Gallery website
Works
Biblioteca Leonardiana, online bibliography (in Italian)
e-Leo: Archivio digitale di storia della tecnica e della scienza, archive of drawings, notes and manuscripts
Works by Leonardo da Vinci at Project Gutenberg
Works by Leonardo da Vinci at LibriVox (public domain audiobooks)
Complete text and images of Richter's translation of the Notebooks
The Notebooks of Leonardo da Vinci
Lluís Borrassà (c.1360, Girona? - c.1426, Barcelona?) was a Catalan painter. He was employed by the Crown of Aragon and is widely considered to have introduced the International Gothic painting style into the Principality of Catalonia.
Life & work
He learned painting from his father, Honorat Borrassà, and is first documented in 1380 as a member of the court of John I of Aragon, who was known for bringing prominent artists there. In 1390, he set up a workshop in Barcelona that would be the city's largest until 1420. His style was influenced by Ferrer Bassa and, in turn, influenced Bernat Martorell.
His production included numerous narrative-style altarpieces. One that he created for the convent church of St. Damien was often praised. although it has since disappeared. Other notable works included pieces depicting the Archangel Gabriel for Barcelona Cathedral; one with the Virgin Mary and St. George for the convent church of St. Francis in Vilafranca del Penedès; and a Clare of Assisi for the convent of the Poor Clares.
Also notable is a Burial of Jesus for the predella at the Collegiate Church of Santa María in Manresa, from 1408. His last positively identified work is from 1425. Few of his polyptychs have survived intact.
References
External links
Media related to Lluís Borrassà at Wikimedia Commons
Lodewijk Toeput, called il Pozzoserrato (c. 1540/1550 – between 1603 and 1605) was a Flemish landscape painter and draftsman active in Italy. He is mainly known for his canvases and frescoes of landscapes and formal gardens with banquets and music-making groups. His landscapes had an important influence on the next generation of Flemish landscape artists such as Joos de Momper, Tobias Verhaecht and Gillis and Frederik van Valckenborch.
Life
The early life of Lodewijk Toeput in his native Flanders is not documented and the date and place of his birth are not known with certainty. The late 16th century biographer Karel van Mander who claimed to have met Toeput in Venice, placed Toeput's birthplace in Mechelen. While many contemporary art historians tend to identify his birthplace as Antwerp there is still no consensus view. In Antwerp he is believed to have studied with Maerten de Vos, a leading history painter who had studied in Italy.
While the date of his departure from his home country is not documented, it is believed the artist arrived around 1573–74 in Venice. According to Carlo Ridolfi's Le maraviglie dell'Arte (1648), Toeput initially worked in the studio of Tintoretto. Here he likely was in contact with his fellow countryman Paolo Fiammingo (Pauwels Franck), who was also residing and working in Venice. The artists may actually have met in Tintoretto's workshop.
Toeput is recorded in Florence in the late 1570s. A stay in Rome is not documented, but it is believed on the basis of drawings of ancient Roman churches that at the beginning of the 1580s Toeput stayed in this city. He then probably resided in Venice for a brief period but was documented in February 1582 in Treviso, near Venice, where he lived and worked for the rest of his life. It is possible that the artist moved from Venice to Treviso because the Venetian painter's guild did not grant him membership and thus the right to work in Venice. Despite his residence in Treviso, Toeput kept in touch with Venice where he met with artistic personalities such as Jacopo Bassano, Hans von Aachen, members of the Sadeler family, Otto van Veen and Pieter de Jode I.
In Treviso there was at the time a high demand by religious and civilian patrons for artwork. One important assignment was for decorations for the Monte di Pietà, a communal pawnshop, for which Toeput created frescos of scenes from the Old and New Testament and parables alluding to the works of mercy. The artist married Laudamia Aproino in 1601 in Treviso. In Italy, the painter was known as Ludovico Pozzoserrato, the literal translation into Italian of his Flemish name Toeput which can be read to mean ‘'Closed Well'’. After he established his residence in Treviso, the artist referred to himself as Lodovico Pozzo da Trevigi.
He died in Treviso some time between 1 January 1604 and 9 September 1605.
Work
Toeput painted frescoes, altarpieces and paintings with Biblical scenes, landscapes, city views and genre scenes of Venetian social life depicting formal gardens with banquets and music-making groups. He painted several historical allegories from the Bible and mythological themes from the Metamorphoses. He made many religious paintings for the Venetian churches. Toeput was principally known for his landscape frescoes and canvases, which combine Flemish and Venetian styles. These landscapes typically depict spacious vistas, full of atmospheric and picturesque effects. His paintings and frescoes can be found in situ in various Italian cities such as Padua, Treviso and Conegliano.
Toeput is also known for his allegorical compositions. In the frescoes of the Villa Chiericati-Mugna, executed between 1587 and 1590, he developed a series of allegorical landscapes, which represent the months of the year, each recognizable by their astrological sign. The series is complemented by a trompe-l'œil of a door that reveals a page with a dog, a painting above the fireplace with Apollo holding a lyre and friezes containing mythological figures along the walls. Toeput left various drawings representing the seasons and months of the year. The Allegory of Spring and Allegory of Winter in the collection of the Yale University Art Gallery likely inspired Joos de Momper's own treatment of this subject.
Toeput painted various elegant gardens with figures engaging in courtly love or concerts. Many of his garden scenes were likely inspired by contemporary Flemish prints. For instance, his Pleasure garden with a maze (Hampton Court Palace) was likely inspired by the Garden with labyrinth by Hans Vredeman de Vries and Party in a garden, both engraved by Pieter van der Borcht the Elder. Toeput's best known garden scene Concert in a villa courtyard Musei civici di Treviso) appears to draw inspiration from Crispijn van de Passe the Elder's engraving of Adolescentia Amori after a design by Toeput's presumed master Maerten de Vos.
Toeput's earliest known drawing, Lot and his daughters, dates from 1573 (Städel). It shows his closeness to his presumed master Maerten de Vos. The influence of his Venetian master Tintoretto is also palpable. This work and other works by Toeput are also close to, and have often been confused with, those of his Flemish compatriot Paolo Fiammingo (Pauwels Franck) who also resided in Venice at the same time. Toeput drew many biblical and mythological scenes, but was primarily a draftsman of cityscapes and panoramic landscapes.
Toeput's drawings show his interest in topography. His Panorama of Treviso and View of Aquapendente were engraved and included in volume V (1598) of Georg Braun and Frans Hogenberg's six-volume atlas, the Civitates orbis terrarum (Cologne, 1572–1618). He also created imaginary landscapes, such as the Landscape with St John on Patmos (New York, Pierpont Morgan Library), showing his characteristic trees with windswept foliage framing a finely detailed panorama depicted from a high viewpoint. Many of his drawings depict landscapes including urban views and often feature bridges. Usually, cities and landscapes occupy most of the space while the human figures are of small scale. The cities are typically characterized by high towers. The landscapes are mountainous and suggest distance. He often placed an object such as a tree on the left or right side of his drawings in order to link the front and back of the composition. An example is the Landscape with Heracles and the Ox-Driver (Hermitage. Moscow). His urban views recall those of the Venetian Domenico Campagnola.
Toeput was in demand as a designer of prints. Flemish engravers who travelled through Venice such as Rafael I Sadeler would engrave after his existing designs or order new designs from him.
References
External links
Media related to Lodewijk Toeput at Wikimedia Commons
Ludovico (or Lodovico) Carracci (Italian: [ludoˈviːko karˈrattʃi]; 21 April 1555 – 13 November 1619) was an Italian, early-Baroque painter, etcher, and printmaker born in Bologna. His works are characterized by a strong mood invoked by broad gestures and flickering light that create spiritual emotion and are credited with reinvigorating Italian art, especially fresco art, which was subsumed with formalistic Mannerism. He died in Bologna in 1619.
Biography
Ludovico apprenticed under Prospero Fontana in Bologna and traveled to Florence, Parma, and Venice, before returning to his hometown. Together with his cousins Annibale and Agostino Carracci, Ludovico worked in Bologna on the fresco cycles depicting Histories of Jason and Medea (1584) in Palazzo Fava, and the Histories of Romulus and Remus (1590-1592) for the Palazzo Magnani. Their individual contributions to these works are unclear, although Annibale, the younger than Ludovico by 5 years had gained fame as the best of the three. This led to Annibale's famed commission of the Loves of the Gods in the Palazzo Farnese in Rome. Agostino joined Annibale there briefly.
While Ludovico remained in Bologna, this does not mean that he was any less influential, the biography of Lanzi states that around 1585, Ludovico and his cousins had founded the so-called Eclectic Academy of painting (also called the Accademia degli Incamminati). More recent conjectures are that there was no established Academy with curriculum, but that Ludovico tutored many in his studio.
This studio however propelled a number of Emilian artists to pre-eminence in Rome and elsewhere, and singularly helped encourage the so-called Bolognese School of the late 16th century, which included Albani, Guercino, Sacchi, Reni, Lanfranco and Domenichino. The Carracci had their apprentices draw studies focused on observation of nature and natural poses, and use a bold scale in drawing figures. Two of Ludovico's main pupils were Giacomo Cavedone and Francesco Camullo.
Restitution
In 2009, Carracci's painting of St. Jerome (c. 1595) was restituted to the heirs of Max Stern, a German Jewish art dealer persecuted and looted by the Nazis
Ludovico Carracci's works
References
Sources
Babette Bohn, Ludovico Carracci and the Art of Drawing Brepols 2004
Allessandro Brogi, Ludovico Carracci Bologna 2001
Andrea Emiliani (ed.), Ludovico Carracci exh. cat. Bologna-FortWorth 1994 (with Essay and catalogue by Gail Feigenbaum)
External links
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Ludovico Carracci (see index)
Whitfield Fine Art
Catholic Encyclopedia: Carracci
Lorenzo Bartolini (Prato, 7 January 1777 – Florence, 20 January 1850) was an Italian sculptor who infused his neoclassicism with a strain of sentimental piety and naturalistic detail, while he drew inspiration from the sculpture of the Florentine Renaissance rather than the overpowering influence of Antonio Canova that circumscribed his Florentine contemporaries.
Biography
Bartolini was born in Savignano di Prato, near Prato, Tuscany.
After studying at the Florentine Academy of Fine Arts, honing his skills and reputation as a modeller in alabaster, he went in 1797 to Paris, where he studied painting under Jean-Baptiste Frédéric Desmarais, and afterwards sculpture under François-Frédéric Lemot. The bas-relief Cleobis and Biton, with which he gained the second prize of the Academy in 1803, at once established his fame as a sculptor and gained for him a number of influential patrons. His bas-relief of the Battle of Austerlitz was among those executed for the column erected in Place Vendôme. He also executed many minor pieces for Vivant Denon, besides portrait busts of the opera composers Méhul and Cherubini.
His great patron, however, was Napoleon, for whom he executed a colossal bust, and who sent him, on the recommendations of his sister Elisa Baciocchi, to the Accademia Carrara in Bergamo in 1807, to teach sculpture, in spite of local opposition. Here he remained as the quasi-official portrait sculptor to the Bonapartes till after the fall of Napoleon. In 1833, Bartolini was elected to the National Academy of Design as an Honorary member. He then took up residence in Florence, where he lived until his death.
He is buried in the Church of Santa Croce in north-east Florence.
Works
In Florence, his Bonapartist associations and his departures as an artist from the strict Canovan classicism being taught at the Academy" limited his opportunities. His naturalistic and somewhat sentimental marble L'Ammostatore ("The Bird's-nest Stealer", 1820) took its inspiration from under-appreciated Quattrocento Florentine sculptors like Andrea del Verrocchio. In his decade of impoverishment, supportive commissions came from foreigners; the funeral monument to Princess Zofia Czartoryska in the Santa Croce, Florence's Westminster Abbey, is an anti-classical statement for naturalism. Two other Bartolini monuments in Santa Croce can be compared with it; in the Capella Giugni is his monument to Charlotte Bonaparte, but when the occasion required a more formal approach, as in the monument to Leone Battista Alberti, the result could be chilly.
A major commission came in 1830 from the sons of the Russian emigree prince Nicola Demidoff, who had retired to Florence. The sons commissioned the Monument to Nicola Demidoff to honor their father, which was placed in Piazza Demidoff, Florence. The commission's multiple figures took shape during Bartolini's last decades; it was completed by Bartolini's assistant Pasquale Romanelli.
His works are varied and include an immense number of portrait busts. The best are, perhaps, the group of Charity (1824), the Hercules and Lichas and Faith in God, commissioned by the widow of Giuseppe Poldi Pezzoli (1768-1833), a wealthy landowner. His portrait statue of Machiavelli took its place as his only commission among the long series of historical Florentine males provided for the empty exterior niches of the Uffizi. He sculpted the Monument to Maria Luisa di Borbone depicting the former Duchess and located in the piazza in front of the Ducal Palaceof Lucca.
Honours