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Ernesto Billò, Santuario Basilica della Natività di Maria Regina Montis Regalis, Vicoforte (Gorle: Editrice Velar, 2012). ISBN 978-88-01-05107-0. |
Roderick Conway Morris, "The Irreverence of a Forgotten Master," International Herald Tribune, 29 May 2010. |
Carl I. Gable, Villa Cornaro in the Enlightenment: Adapting a Palladian Villa to Eighteenth Century Ideals (Atlanta: Boglewood, 2013). |
Mercedes Precerutti Garberi, Frescos from Venetian Villas (New York: Phaidon, 1971), pp. 54–57; Italian edition: Affreschi Settecenteschi delle Ville Venete (Milan: Silvana Editoriale, 1975), pp. 67–68 and plates 55-61. |
Nicola Ivanoff, "Mattia Bortoloni e gli Affreschi Ignoti della Villa Cornaro a Piombino Dese," Arte Veneta, vol. 4 (1950), pp. 123–130. |
Douglas Lewis, "Freemasonic Imagery in a Venetian Fresco Cycle of 1716," in Hermeticism and the Renaissance: Intellectual History and the Occult in Early Modern Europe, edited by Ingrid Merkel and Allen G. Debus, (Washington, D. C.: The Folger Shakespeare Library, 1988), pp. 366–399. |
Fabrizio Malachin and Alessia Vedova, editors, Bortoloni Piazzetta Tiepolo: Il '700 Veneto (Milan: Silvana Editoriale, 2010). |
[David Martin], Historien des Ouden en Nieuwen Testaments (Amsterdam: Pieter Mortier, 1700), translated from French by William Sewel. |
Filippo Pedrocco, editor, Gli affeschi nei ville venete dal '500 al '700 (Schio: Sassi Editore, 2008), pp. 228–227; English edition: Frescoes of the Veneto: Venetian Palaces and Villas (New York: Vendome Press, 2009). |
Antonio Romagnolo, editor, Mattia Bortoloni (Rovigo: Comune di Rovigo, 1987). |
External links |
Short biography |
Mattia Preti (24 February 1613 – 3 January 1699) was an Italian Baroque artist who worked in Italy and Malta. He was appointed a Member of the Order of Saint John. |
Life |
Born in the small town of Taverna in Calabria, Preti was called Il Cavalier Calabrese (the Calabrian Knight) after appointment as a Knight of the Order of St. John (Knights of Malta) in 1660. His early apprenticeship is said to have been with the "Caravaggist" Giovanni Battista Caracciolo, which may account for his lifelong interest in the style of Caravaggio. |
Probably before 1630, Preti joined his brother Gregorio (also a painter), in Rome, where he became familiar with the techniques of Caravaggio and his school as well as with the work of Guercino, Rubens, Guido Reni, and Giovanni Lanfranco. In Rome, he painted fresco cycles in the churches of Sant'Andrea della Valle and San Carlo ai Catinari. Between 1644 and 1646, he may have spent time in Venice, but remained based in Rome until 1653, returning later in 1660–61. He painted frescoes for the church of San Biagio at Modena (app. 1651–2) and participated in the fresco decoration of the Palazzo Pamphilj in Valmontone (documented 1660–61), where he worked along with Pier Francesco Mola, Gaspar Dughet, Francesco Cozza, Giovanni Battista Tassi (il Cortonese), and Guglielmo Cortese. |
During most of 1653–1660, he worked in Naples, starting with a Saint Nicholas. There he was influenced by another prominent painter of his era, Luca Giordano. Preti's major works include a series of large fresco ex-votos depicting the Virgin or saints delivering people from the plague, which were painted on seven city gates and are now lost - two sketches for them are in the Capodimonte Museum in Naples, including a bozzetto of the Virgin with the baby Jesus looming over the dying and their burial parties which envisions a Last Judgement presided over by a woman. Preti also won a commission to supervise the construction, carving, and gilding for the nave and transept of San Pietro a Maiella, along with producing a Judith and Holofernes and Saint John the Baptist, both still in Naples. |
Having been made a Knight of Grace in the Order of St John, he visited the order's headquarters in Malta in 1659 and spent most of the remainder of his life there. Preti transformed the interior of St. John's Co-Cathedral in Valletta with a huge series of paintings on the life and martyrdom of St. John the Baptist (1661–1666). In Malta one also can find many paintings of Preti in private collections and in parish churches. His increased reputation led to an expanded circle of patrons, and he received commissions from all over Europe. |
Preti was fortunate to enjoy a long career and have a considerable artistic output. His paintings, representative of the exuberant late Baroque style, are held by many great museums, including important collections in Naples, Valletta, and in his hometown of Taverna, Calabria. |
Gallery |
References |
Further reading |
Spike, John (1997). Mattia Preti e Gregorio Preti a Taverna. Catalogo completo delle opere. Centro Di. |
Spike, John (1999). Mattia Preti. Catalogo Ragionato dei Dipinti. Florence.{{cite book}}: CS1 maint: location missing publisher (link) |
Wittkower, Rudolf (1993). "Art and Architecture Italy, 1600–1750". Pelican History of Art. 1980. Penguin Books Ltd. pp. 330–331. |
External links |
Media related to Mattia Preti at Wikimedia Commons |
Christ Seats the Child in the Midst of the Disciples, c. 1680-85. Museum & Gallery, Inc. Greenville, SC |
Maximilien Luce (French pronunciation: [maksimiljɛ̃ lys]; 13 March 1858 – 6 February 1941) was a prolific French Neo-impressionist artist, known for his paintings, graphic art, and his anarchist activism. Starting as a wood-engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. |
Early life and education |
Maximilien-Jules-Constant Luce was born on 13 March 1858 in Paris. His parents, of modest means, were Charles-Désiré Luce (1823–1888), a railway clerk, and Louise-Joséphine Dunas (1822–1878). The family lived in the Montparnasse, a working-class district of Paris. Luce attended school at l'Ecole communale, beginning in 1864. |
In 1872, the fourteen-year-old Luce became an apprentice with wood-engraver Henri Théophile Hildebrand (1824–1897). During his three-year xylography apprenticeship, he also took night classes in drawing from instructors Truffet and Jules-Ernest Paris (1827–1895). During this period, Luce started painting in oils. He moved with his family to the southern Paris suburb of Montrouge. His art education continued as he attended drawing classes taught by Diogène Maillard (1840–1926) at the Gobelins tapestry factory. |
Luce began working in the studio of Eugène Froment (1844–1900) in 1876, producing wood-engravings for various publications, including L'Illustration and London's The Graphic. He took additional art courses, at l'Académie Suisse, and also in the studio of portrait painter Carolus-Duran (1837–1917). Through Froment's studio, Luce became friends with Léo Gausson and Émile-Gustave Cavallo-Péduzzi. These three artists spent time around Lagny-sur-Marne creating Impressionist landscapes. |
Work |
Luce spent four years in the military, starting in 1879, serving in Brittany at Guingamp. The next year, he received a promotion to corporal, and he became friends with Alexandre Millerand, who, in 1920, assumed the office of President of France. In 1881 he requested the restoration of his lower rank of soldier, second class. Carolus-Duran used his influence to get a transfer for Luce to Paris barracks. His stint in the military came to a close in 1883. |
The prevalence of the new zincography printing process rendered xylography nearly obsolete as a profession. When the opportunities for employment as an engraver became scarce, Luce shifted his focus to painting full-time in about 1883. |
Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style. In contrast to Seurat's detached manner, Luce's paintings were passionate portrayals of contemporary subjects, depicting the "violent effects of light". He moved to Montmartre in 1887. Luce joined the Société des Artistes Indépendants and participated in their third spring exhibition, where Paul Signac purchased one of his pieces, La Toilette. Camille Pissarro and critic Félix Fénéon were also impressed by the seven Luce works displayed in the show. Fénéon characterized Luce as a "coarse, honest man, with a rough and muscular talent." In addition to Pissarro and Signac, he met many of the other Neo-impressionists, including Seurat, Henri-Edmond Cross, Charles Angrand, Armand Guillaumin, Hippolyte Petitjean, Albert Dubois-Pillet, and Pissarro's son Lucien. A New York Times critic declared this Pointillist period to be the pinnacle of Luce's artistic career, singling out the radiant 1895 painting On the Bank of the Seine at Poissy as an example. He described the skillfully executed painting as "a lyrical celebration of nature." |
With the exception of the years 1915 to 1919, Luce exhibited in every show at Les Indépendants from 1887 until he died in 1941, including a thirty-year retrospective held in 1926. In 1909, he was elected vice president of the Société des Artistes Indépendants, and was elected president in 1935, following the death of Signac, who had held the post since 1908. However, in 1940 he resigned from the position as a protest against the Vichy regime's laws which would have prohibited Jewish artists from participating in the group. Luce had his first solo exhibition, arranged by Fénéon, in July 1888, exhibiting ten paintings at the La Revue indépendante offices. He showed six paintings at the 1889 Les XX exhibition in Brussels. While there, he met Les XX official Octave Maus, as well as Symbolist poet Emile Verhaeren and fellow Neo-impressionist painter Théo van Rysselberghe. Luce's work was also featured in the ninth Les XX exhibition, in 1892. |
In the spring of 1892 Luce traveled with Pissarro to London. Later that year, he visited Saint-Tropez with Signac, and in the summer of 1893, he went to Brittany. |
Starting near the early part of the twentieth century, his identification with the Neo-impressionists began to disappear, as he became less active politically, and his artistic style shifted from Neo-impressionism, and he resumed painting in an Impressionist manner. Some of his paintings during this period depicted wounded World War I soldiers arriving from the battlefront to Paris. |
Luce depicted a diverse range of subjects in his works over a long career. He most frequently created landscapes, but his other works include portraits, still lifes (especially florals), domestic scenes, such as bathers, and images of welders, rolling mill operators, and other laborers. |
Anarchism |
Luce aligned with the Neo-impressionists not only in their artistic techniques, but also in their political philosophy of anarchism. Many of his illustrations were featured in socialist periodicals, notably La Révolte, Jean Grave's magazine which was later called Les Temps nouveaux. Other socialist/anarchist publications which he contributed to include Le Père Peinard, Le Chambard, and La Guerre sociale. On 8 July 1894, Luce, suspected of involvement in the 24 June assassination of President of France Marie François Sadi Carnot, was arrested and was confined to Mazas Prison. He was released forty two days later, on 17 August, following his acquittal at the Procès des trente. He published Mazas, an album consisting of ten lithographs documenting the experiences of himself and other political prisoners incarcerated in Mazas; accompanying the lithographs was text by Jules Vallès. In 1896, while King Alfonso XIII of Spain was visiting Paris, the police detained Luce on the grounds that he was a "dangerous anarchist". |
Luce's choice of subject matter for his art was often rooted in his political beliefs. Through his paintings, he passionately demonstrated empathy and fellowship with the proletariat. |
Family |
In 1893, Luce met Ambroisine "Simone" Bouin in Paris. She became his model, companion, common-law wife, and wife. Bouin was usually referred to as "Madame Luce", even before their eventual marriage. She was frequently a model for him, appearing in many of his works, often partially or fully nude, other times depicted in scenes such as on a balcony or combing her hair. The couple's first son, Frédérick, was born on 5 June 1894, but he died fifteen months later, on 2 September 1895. Their second child, whom they also named Frédérick, was born in 1896, and in 1903 they adopted Ambroisine's nephew Georges Édouard Bouin, who had become orphaned. The couple got married on 30 March 1940 in Paris; just a few months later, Ambroisine died, in Rolleboise, on 7 June 1940. |
Death and assessment |
Luce died at his Paris home on 7 February 1941, at the age of 83. He was buried in Rolleboise. In May 1941, the Bibliothèque nationale de France held a memorial exhibition, and another memorial exhibition was mounted at Les Indépendants from March to April 1942. |
Luce was among the most productive of the Neo-impressionists, creating over two thousand oil paintings, a comparably large number of watercolors, gouaches, pastels, and drawings, plus over a hundred prints. |
The Musée d'Orsay assesses Luce as "one of the best representatives of the neo-impressionist movement". Although he had had many solo exhibitions of his work in France, the first one in the United States did not occur until a 1997 retrospective at Wildenstein & Company in Manhattan. |
Notre Dame de Paris, painted in 1900, sold at auction in May 2011 for US$4,200,000, setting a record for a Luce work. |
Collections |
Public collections containing Luce's work include: |
Gallery |
References |
Sources |
Clement, Russell T.; Houzé, Annick (1999). Neo-Impressionist Painters: a Sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo Van Rysselberghe, Henri Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet. Westport, CT: Greenwood Press. ISBN 0-313-30382-7. Retrieved 20 September 2013. |
Clement, Russell T. (2001). Jill Berk Jiminez, Joanna Banham (ed.). Dictionary of Artists' Models. Fitzroy Dearborn. ISBN 9781579582333. Retrieved 22 September 2013. |
Further reading |
Bouin-Luce, Jean and Denise Bazetoux, Maximilien Luce, catalogue raisonné de l'œuvre peint, Paris, Editions JBL, 1986–2005. |
Brown, Stephen, "Luce, the artist engage," PhD dissertation, Columbia University, New York, N.Y. 2003 |
Cazeau, Philippe, Maximilien Luce, Lausanne, Bibliothèque des arts, 1982. |
Fénéon, Fanny, Correspondance de Fanny & Félix Fénéon avec Maximilien Luce, illustrée par Luce de portraits originaux, Tusson, Charetnte, Du Lérot, 2001. |
Luce, Maximilien, Maximilien Luce, peindre la condition humaine, Paris, Somogy éditions d'art, 2000. |
Luce, Maximilien, Maximilien Luce, Palais des beaux-arts, [Charleroi] 29 octobre-4 decembre 1966, Charleroi, Palais des beaux-arts, 1966. |
Mantes-la-Jolie, Inspirations de bords de Seine, Maximilien Luce et les peintres de son époque, Paris, Somogy, 2004. |
External links |
Maximilien Luce – Findlay Galleries |
Maximilien Luce on ArtNet |
Melchior Broederlam (born Ypres, perhaps c. 1350; died Ypres?, after 1409) was one of the earliest Early Netherlandish painters to whom surviving works can be confidently attributed. He worked mostly for Philip the Bold, Duke of Burgundy, and is documented from 1381 to 1409. Although only a single large pair of panel paintings can confidently be attributed to him, no history of Western painting can neglect his contribution. |
Life |
His early career included a lengthy stay in Italy, where he adopted a sense of space and use of modelling influenced by Trecento painting. From 1381 he was court painter to Louis de Mâle, Duke of Brabant, and from Louis's death in 1384 worked for his son-in-law and successor, Philip the Bold, although he remained based in Ypres, doing much work, mostly decorative, at Philip's now vanished chateau at Hesdin, which was full of elaborate mechanical devices, of what we might today call a fairground nature, which needed painting. Like many court artists, including Jan van Eyck, he was appointed valet de chambre to the Duke (in 1387), and in 1391 promoted to court painter. He continued to work for Philip's successor John the Fearless, but last appears in the Ducal accounts in 1409. |
Dijon panels |
Probably his only surviving paintings (as opposed to painted carvings) are the two outsides of the wings for a well-documented carved altarpiece by Jacques de Baerze commissioned by Philip for the charterhouse of Champmol near Dijon, which Broederlam completed in 1399, also gilding and painting the wood carvings inside. This is now in the Musée des Beaux-Arts de Dijon, as is another altarpiece from the same commission, for which he gilded and painted the carved figures; he had apparently also painted outside panels for this, but they are lost. Guild rules usually mandated that carving and painting were performed by members of different guilds. |
Broederlam's use of oil paint had a strong impact on the painters of the following generation, including Robert Campin and Jan van Eyck. Both panels include two scenes, with an extensive landscape, and look into pavilion-like buildings in a manner derived from Italy. Although the perspective is far from fully developed, light and shadow are used to create a sense of depth in a very advanced fashion, and the realistic depiction of Saint Joseph was to become characteristic of Netherlandish painting. Although the skies are painted in gold in the Dijon panels, a flying hawk in one shows they are intended as real space. The buildings in the Annunciation combine Romanesque and Gothic areas, probably intended to contrast the Old and New Testaments, in a visual metaphor that was to become characteristic of Eyckian painting. The panels contain much of the contemporary International Gothic but also "announce a new world of naturalism and disguised symbolism that will be further refined in the works of his successors in the Netherlands." |
Possible other works |
Some other works have been attributed to him or his workshop, but without being generally accepted. In particular six scenes (two panels are painted on both sides) from an altarpiece from Champmol, now equally divided between Antwerp and Baltimore, have often been attributed to him, although iconographic and stylistic details suggest a Mosan origin. |
Notes |
References |
Anne Hagopian van Buren, "Broederlam, Melchior," Grove Art Online, Oxford University Press [accessed 14 April 2008] |
Snyder, James; Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0-13-623596-4 |
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