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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 lif... |
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 ... |
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 ... |
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 (166... |
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, an... |
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... |
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 mo... |
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 stu... |
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... |
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 effec... |
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 S... |
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 wou... |
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 publicatio... |
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 i... |
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 p... |
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... |
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... |
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... |
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 ... |
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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