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Portrait of an unknown man - Oil on panel, Museo Mandralisca, Cefalù
Madonna and Child - Oil and tempera on panel transferred from panel, National Gallery of Art, Washington, D.C.
References
Sources
Barbera, Giocchino (2005). Antonello da Messina, Sicily's Renaissance Master (exhibition catalogue). New York: Metropolitan Museum of Art Yale University Press. ISBN 0-300-11648-9 (online).
Christiansen, Keith. “Antonello da Messina (ca. 1430–1479).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (March 2010)
Pope-Hennessy, John (1966). The Portrait in the Renaissance. London: Phaidon.
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Antonello da Messina". Encyclopædia Britannica. Vol. 2 (11th ed.). Cambridge University Press. p. 148.
External links
Antonello da Messina in the "History of Art" Archived 13 October 2013 at the Wayback Machine
Antonello da Messina – Biography and Works
Best of Sicily Magazine article on Antonello da Messina and the technique of egg tempera / oil media
"Antonello da Messina" . Catholic Encyclopedia. 1913.
Web Gallery of Art
Guardian article on Portrait of a Man
Petrus Christus: Renaissance master of Bruges, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Antonello da Messina (see index)
Antonio Alberti was an Italian painter, active mainly in the 15th century in his native city of Ferrara, as well as Bologna and Urbino.
Biography
He painted portraits and sacred subjects. For the sacristy of the church of San Bernardino, outside Urbino, he painted a Madonna and Child enthroned (1439). He painted frescoes in the Bolognini chapel at San Petronio Basilica in Bologna, consisting of incidents from the Passion, Paradise, and Inferno . He painted frescoes of the Virgin and child between saints Benedict and Sebastian (1433) for the inner choir of Sant' Antonio Abate in Ferrara. He had a son of the same name, who was also an artist, living in 1550. Onofrio Gabrieli and Fra Carnovale were his pupils. His grandson was Timoteo della Vite.
Gallery
References
Bryan, Michael (1886). Robert Edmund Graves (ed.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II L-Z. London: George Bell and Sons. p. 8.
Antonio Vivarini (Antonio of Murano) (active c. 1440 – 1480) was an Italian painter of the early Renaissance-late Gothic period, who worked mostly in the Republic of Venice. He is probably the earliest of a family of painters, which was descended from a family of glassworkers active in Murano. The painting dynasty included his younger brother Bartolomeo and Antonio's son Alvise Vivarini.
Life
He initially trained with Andrea da Murano, and his works show the influence of Gentile da Fabriano. The earliest known date of a picture of his, an altar-piece in the Accademia is 1440; the latest, in the Vatican Museums, 1464, but he appears to have been alive in 1470.
He collaborated with his brother in law, Giovanni d'Alemagna (also known as "Joannes de Alemania"), who sometimes has been regarded as a brother (Giovanni of Murano). No trace of this painter exists of a date later than 1447. After 1447 Antonio painted either alone or in combination with his younger brother Bartolommeo in Padua. The works of Antonio are well drawn for their epoch, with a certain noticeable degree of softness, and with good flesh and other tints. He was probably influenced by Mantegna, and worked with him in the Ovetari Chapel in 1450–51. It is sometimes difficult to assign authorship for works from the Vivarini studio.
Three of his principal paintings are the Enthroned Madonna Virgin with the Four Doctors of the Church, the Coronation of the Virgin and Saints Peter and Jerome. The first two (in which Giovanni co-operated) are in the Venetian academy, the third in the National Gallery, London.
Though Alvise developed an interest in spatial coherence and solid form towards the end of the century, the Vivarini workshop, overall, continued to embody a traditional Gothic-influential approach for much longer.
References
External links
Media related to Antonio Vivarini at Wikimedia Commons
Italian Paintings, Venetian School, a collection catalog containing information about Vivarini and his works (see index; plates 100-101).
Apollonio Domenichini, alternatively referred to as the Maestro della Fondazione Langmatt, or Menichini or il Menichino (Venice, 1715 - c.1770) was an Italian painter of vedute, active in Venice, Italy, between 1740 and 1770.
He was a pupil of Luca Carlevarijs and Johan Richter. He is best known for his pictorial representations of views of Venice and its surroundings. His name is recorded in the records of the fraglia or guild of Venetian painters in 1757, and it often appears as the painter of many works sent by the art dealer Giovanni Maria Sasso to the English minister John Strange in the second half of the eighteenth century. His name was proposed as the "master of the Langmatt Foundation" name from the series of thirteen vedute owned by the Langmatt Foundation in Baden near Zurich.
Sources
The information in this article is based on that in its French equivalent.
Arnold Böcklin (16 October 1827 – 16 January 1901) was a Swiss Symbolist painter. He is best known for his five versions of the Isle of the Dead, which inspired works by several late-Romantic composers.
Biography
Arnold Böcklin was born in Basel. His father, Christian Frederick Böcklin (b. 1802), was descended from an old family of Schaffhausen, and engaged in the silk trade. His mother, Ursula Lippe, was a native of the same city. Arnold studied at the Düsseldorf academy under Schirmer, and became a friend of Anselm Feuerbach. He is associated with the Düsseldorf school of painting. Schirmer, who recognized in him a student of exceptional promise, sent him to Antwerp and Brussels, where he copied the works of Flemish and Dutch masters. Böcklin then went to Paris, worked at the Louvre, and painted several landscapes.
After serving his time in the army, Böcklin set out for Rome in March 1850. The many sights of Rome were a fresh stimulus to his mind. These new influences brought allegorical and mythological figures into his compositions. In 1856 he returned to Munich, and remained there for four years.
His first fiancée died young. A second woman declined to marry. In Rome, he married Angela Rosa Lorenza Pascucci in 1853. The couple had fourteen children, but five died in childhood and another three died before Böcklin. He himself nearly succumbed to typhoid in 1859.
Career
He then exhibited the Great Park, one of his earliest works, in which he treated ancient mythology. Of this period are his Nymph and Satyr, Heroic Landscape (Diana Hunting), both of 1858, and Sappho (1859). These works, which were much discussed, together with Lenbach's recommendation, gained him appointment as professor at the Weimar academy. He held the office for two years, painting the Venus and Love, a Portrait of Lenbach, and a Saint Catherine.
He returned to Rome from 1862 to 1866, and there gave his fancy and his taste for violent colour free play in his Portrait of Mme Böcklin, and in An Anchorite in the Wilderness (1863), a Roman Tavern, and Villa on the Seashore (1864). He returned to Basel in 1866 to finish his frescoes in the gallery, and to paint, besides several portraits, The Magdalene with Christ (1868), Anacreon's Muse (1869), and A Castle and Warriors (1871). His Portrait of Myself, with Death playing a violin (1872), was painted after his return again to Munich, where he exhibited Battle of the Centaurs, Landscape with Moorish Horsemen and A Farm (1875). From 1876 to 1885 Böcklin was working at Florence, and painted a Pietà, Ulysses and Calypso, Prometheus, and the Sacred Grove.
From 1886 to 1892 he settled at Zürich, after which he resided at San Domenico, near Florence. From this period are the Naiads at Play, A Sea Idyll, and War.
Böcklin died on 16 January 1901 in Fiesole. He is buried in the Cimitero degli Allori in the southern suburb of Florence, Italy.
Symbolism
Influenced by Romanticism, Böcklin's symbolist use of imagery derived from mythology and legend often overlapped with the aesthetic of the Pre-Raphaelites. Many of his paintings are imaginative interpretations of the classical world, or portray mythological subjects in settings involving classical architecture, often allegorically exploring death and mortality in the context of a strange, fantasy world.
Böcklin is best known for his five versions (painted 1880 to 1886) of the Isle of the Dead, which partly evokes the English Cemetery, Florence, which was close to his studio and where his baby daughter Maria had been buried. An early version of the painting was commissioned by a Madame Berna, a widow who wanted a painting with a dreamlike atmosphere.
Clement Greenberg wrote in 1947 that Böcklin's work "is one of the most consummate expressions of all that is now disliked about the latter half of the nineteenth century."
Legacy
During his lifetime, Böcklin achieved considerable recognition, especially in central Europe, and influenced younger artists such as Hans Thoma. After his death in 1901 his reputation declined rapidly as modern art styles made the literary character of his paintings seem old-fashioned. Despite this, his work was a significant influence on Giorgio de Chirico – who said "Each of Böcklin's works is a shock" – and was admired by Surrealist painters such as Max Ernst and Salvador Dalí. A general revival of interest in Böcklin began only in the 1960s.
When asked who was his favorite painter, Marcel Duchamp controversially named Arnold Böcklin as having a major influence on his art. Whether Duchamp was serious in this assertion is still debated.
H. R. Giger has created a picture called Homage à Böcklin, based upon Isle of the Dead.
Museums holding several works by Böcklin include the Kunstmuseum Basel and the Kunsthaus Zürich.
In music
Böcklin's paintings, especially Isle of the Dead, inspired several late-Romantic composers.
Gustav Mahler's song Des Antonius von Padua Fischpredigt (St. Anthony's Sermon to the Fish) from his Des Knaben Wunderhorn song cycle, which also appears as the Scherzo movement in Mahler's Symphony No. 2 (Mahler) was inspired by Böcklin's 1892 painting, St. Anthony Preaching to the Fish.
In 1891, Portuguese pianist José Vianna da Motta composed two pieces on Böcklin's paintings Meeresidylle and Im Spiel der Wellen.
Sergei Rachmaninoff (see Isle of the Dead) and Heinrich Schulz-Beuthen both composed symphonic poems after it. Rachmaninoff was also inspired by Böcklin's painting Die Heimkehr ("The Homecoming" or "The Return") when writing his Prelude in B minor, Op. 32, No. 10.
Andreas Hallén, a Swedish Romantic composer, wrote a symphonic poem Die Toteninsel in 1898.
In 1903, Austrian, later American, composer Karl Weigl composed a tone poem for piano "Die Toteninsel".
In 1913 Max Reger composed a set of Four Tone Poems after Böcklin with the movements "Der geigende Eremit", "Im Spiel der Wellen", "Die Toteninsel", and "Bacchanal".
In Mark Robson's film Isle of the Dead (1945), Disney composer Leigh Harline's somber score makes use of Sergei Rachmaninoff's music.
Hans Huber's second symphony is entitled Böcklin-Sinfonie, after the artist and his paintings.
Felix Woyrsch composed 3 Böcklin Phantasies (Die Toteninsel, Der Eremit, Im Spiel der Wellen), Op. 53 (1910).
Fulvio Caldini composed L'isola di Böcklin, his Op.85 for electronic instruments (2001).
Other
The Schriftgiesserei Otto Weisert foundry designed an Art Nouveau typeface in 1904 and named it "Arnold Böcklin" in his honor.
Adolf Hitler was fond of Böcklin's work, at one time owning 11 of his paintings.
Roger Zelazny's novel Isle of the Dead features a planet-building character inspired by the painting to create an Isle of the Dead on one of his worlds, and an Ace books edition features a cover painting by Dean Ellis that is deliberately reminiscent of Böcklin's work.
Yemelyan Yaroslavsky, Academician of the Academy of Sciences of the Soviet Union, opened his 1942 laudatory article on Dmitry Shostakovich's Seventh Symphony with an allusion to Böcklin's painting "War".
Works
References
External links
Publications by and about Arnold Böcklin in the catalogue Helveticat of the Swiss National Library
"Arnold Böcklin". SIKART Lexicon on art in Switzerland.
Works by Arnold Böcklin at Project Gutenberg
Works by or about Arnold Böcklin at the Internet Archive
Bocklin in "History of Art" Archived 2020-11-27 at the Wayback Machine
Böcklin biography and images at CGFA