text stringlengths 0 3.13k |
|---|
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, i... |
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 conven... |
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 gen... |
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... |
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 ... |
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, n... |
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 marrie... |
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 re... |
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 d... |
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 P... |
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 Flemi... |
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 ... |
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 ... |
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 Historie... |
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 establishe... |
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 o... |
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 tha... |
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 t... |
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... |
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 F... |
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 decad... |
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 commissi... |
Honours |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.