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References |
Further reading |
Lemoine, Annick, Nicolas Régnier (alias Niccolò Renieri) ca. 1588-1667 peintre, collectionneur et marchand d'art, 2007, Arthena (Paris). ISBN 978-2-903239-37-4 |
External links |
Media related to Nicolas Régnier (painter) at Wikimedia Commons |
Norbert Grund (4 December 1717 – 17 July 1767) was a Bohemian painter who worked in the Rococo style. |
Grund was born in Prague. He was trained by his father, Christian Grund, who worked as a court painter in Kolovrat. In 1737, Grund completed his apprenticeship and subsequently traveled to Vienna and Venice. Grund returned to Prague in 1751, and in 1753 he joined the painters' guild of Malá Strana. His works were influ... |
References |
MUZIKA, František. Norbert Grund. Prague: Melantrich, 1937. |
Orazio Lomi Gentileschi (1563–1639) was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists. |
After 1600, he came under the influence of the more naturalistic style of Caravaggio. He received important commissions in Fabriano and Genoa before moving to Paris to the court of Marie de' Medici. He spent the last part of his life at the court of Charles I of England and died in London. He was the father of the pain... |
Life |
Gentileschi was born in Tuscany, the son of a Florentine goldsmith called Giovanni Battista Lomi, and baptised at Pisa on 9 July 1563. He later took the name Gentileschi from an uncle with whom he lived after moving to Rome : p.6 in either 1576 or 1578. |
Early years in Rome |
Much of Gentileschi's early work in Rome was collaborative in nature. He painted the figures for Agostino Tassi's landscapes in the Palazzo Rospigliosi, and possibly in the great hall of the Quirinal Palace, although some authorities ascribe the figures there to Giovanni Lanfranco. He also worked in the churches of San... |
Influence of Caravaggio |
From around 1600, Gentileschi's style was transformed by his contact with Caravaggio: p.8 —several years his junior—who was then in Rome. In late August 1603, Giovanni Baglione filed a suit for libel against Caravaggio, Gentileschi, Ottavio Leoni, and Filipo Trisegni in connection with some unflattering poems circulate... |
In 1611, Gentileschi collaborated with Tassi again, on works including the decorations of the Casino delle Muse. However, their association ended due to a dispute over money. In 1612 he was again called to the Tribunal of Rome, this time to speak against Tassi, who was charged with the rape of his daughter Artemisia Ge... |
Details of Gentileschi's studio practice during this period have been preserved in the records of Tassi's trial. Following Caravaggio's lead, he often painted directly from models.: p.10 One of the witnesses at the trial, Giovanni Molli, a 73-year-old pilgrim from Palermo, said that he had posed for several pictures a... |
Between around 1613 and 1619 he did much of his work for patrons in the Roman Marches, in the cities of Ancona and Fabriano. |
Genoa |
In 1621, Gentileschi moved to Genoa, at the invitation of Giovanni Antonio Sauli, who had previously commissioned works from his brother, Aurelio Lomi. Gentileschi's works for Sauli included a Magdalene, a Danäe and Lot and his Daughters. He found other patrons in the city, including Marcantonio Doria, for whom he carr... |
France and England |
In the summer or autumn of 1624, Gentileschi left Genoa for Paris, and the court of the Queen Mother, Marie de' Medici. He stayed for two years, but only one picture from his time there has been identified, an allegorical figure of Public Felicity, painted for the Palais du Luxembourg, and now in the collection of the ... |
In 1626, Gentileschi, accompanied by his three sons,: p.226 left France for England, where he became part of the household of the King's first minister, George Villiers, 1st Duke of Buckingham.: p.224 He was to remain in England for the rest of his life. One of his first major works there was a large ceiling painting... |
He was a favourite artist of Queen Henrietta Maria, for whom he carried out the ceiling paintings at Queen's House, Greenwich (later transferred to Marlborough House, London).: p.228 The paintings of his English period are more elegant, artificial and restrained than his previous works. They include two versions of Th... |
In England van Dyck made a drawing of Gentileschi for inclusion in his Iconographia, a series of portraits of the leading artists, statesmen, collectors and scholars of the time, which he intended to publish as a set of engravings. |
Gentileschi died in London on 7 February 1639, and was buried in the Queen's Chapel at Somerset House.: p.228 |
Works |
Orazio Gentileschi |
References |
Sources |
Orazio and Artemisia Gentileschi (Exhibition catalogue). New York: Metropolitan Museum of Art. 2002. |
The Genius of Rome 1592-1693 (Exhibition catalogue). London: Royal Academy of Arts. 2001. |
Sale of the Century:Artistic Relations between Spain and Great Britain1604–1655. Yale University Press in Association with Museo Nacional del Prado. 2002. |
External links |
Media related to Orazio Gentileschi at Wikimedia Commons |
Panfilo Nuvolone (1581–1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua. |
Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where fresco church ceilings, and painted altarpieces and still lifes. |
One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. ... |
Sources |
Coddè, Segretario dell Belle Arti in Mantova, Dottore Pasquale (1837). Aumentate e scritte Dottore Fisico, Luigi Coddè (ed.). Memorie Biografiche, poste in forma di Dizionario die Pittori, Scultori, Architetti, ed Incisori Mantovani. Mantua: Presso i Fratelli Negretti. pp. 120–123. |
Grove Encyclopedia entry |
‘’Cain and Abel’’ |
External links |
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Nuvolone (see index) |
Paolo Pagani (22 September 1655 – 5 May 1716) also known as Paolo Antonio Pagani or Paolo Pagano, was an Italian Baroque/Mannerism painter of the 17th century. |
Biography |
Pagani was born in Valsolda, now a municipality in the Province of Como in the Italian region Lombardy, located about 60 kilometres (37 mi) north of Milan and bordering Switzerland. In 1667 he moved to Venice, where he made a series of ten aquatints from works by Giuseppe Diamantini (1621–1705). In 1675 he painted the ... |
In 1696 he returned to Valsolda where he frescoed what is considered his masterwork: the nave of the parish church of San Martino. The work, completed the year of the birth of Tiepolo, who would master the art of the luminous fresco, astounds with the use of bright colors and swirling sotto in su perspective as a fresc... |
Pagani died in Milan on 5 May 1716. His former house in Valsolda has been converted in a museum dedicated to his work in 2004. |
References |
External links |
Museo Paolo Pagani |
Paolo Uccello ( oo-CHEL-oh, Italian: [ˈpaːolo utˈtʃɛllo]; 1397 – 10 December 1475), born Paolo di Dono, was an Italian Renaissance painter and mathematician from Florence who was notable for his pioneering work on visual perspective in art. In his book Lives of the Most Excellent Painters, Sculptors, and Architects, Gi... |
Paolo worked in the Late Gothic tradition, emphasizing colour and pageantry rather than the classical realism that other artists were pioneering. His style is best described as idiosyncratic, and he left no school of followers. He has had some influence on twentieth-century art and literary criticism (e.g., in the Vies... |
Early life and training |
The sources for Paolo Uccello's life are few: Giorgio Vasari's biography, written 75 years after Paolo's death, and a few contemporary official documents. Uccello probably was born in 1397 in Pratovecchio (near Arezzo), the hometown of his father, Dono di Paolo, a barber-surgeon. His mother, Antonia, was a high-born ... |
From 1412 until 1416 he was apprenticed to the famous sculptor Lorenzo Ghiberti. Ghiberti was the creator of the doors of the Florence Baptistery and his workshop was the premier centre for Florentine art at the time. Ghiberti's late-Gothic, narrative style and sculptural composition greatly influenced Paolo. It was al... |
Career |
According to Vasari, Uccello's first painting was a Saint Anthony between the saints Cosmas and Damianus, a commission for the hospital of Lelmo. Next, he painted two figures in the convent of Annalena. Shortly afterwards, he painted three frescoes with scenes from the life of Saint Francis above the left door of the S... |
Paolo painted the Lives of the Church Fathers in the cloisters of the church of San Miniato, which sat on a hill overlooking Florence. According to Vasari, Paolo protested against the monotonous meals of cheese pies and cheese soup served by the abbot by running away, and returned to finish the job only after the abbot... |
Uccello was asked to paint a number of scenes of distempered animals for the house of the Medici. The scene most appreciated by Vasari was his depiction of a fierce lion fighting with a venom-spouting snake. Uccello loved to paint animals and he kept a wide variety of pictures of animals, especially birds, at home. Thi... |
By 1424, Paolo was earning his own living as a painter. In that year, he proved his artistic maturity by painting episodes of the now-badly-damaged Creation and the Fall for the Green Cloister (Chiostro Verde) of Santa Maria Novella in Florence. Again, this assignment allowed him to paint a large number of animals in a... |
In 1425, Uccello travelled to Venice, where he worked on the mosaics for the façade of San Marco, which have all since been lost. During this time, he also painted some frescoes in the Prato Cathedral and Bologna. Some suggest he visited Rome with his friend Donatello before returning to Florence in 1431. After he retu... |
Despite his leave from Florence, interest in Uccello did not diminish. In 1432, the Office of Works asked the Florentine ambassador in Venice to enquire after Uccello's reputation as an artist. In 1436, he was given the commission for the monochromatic fresco of Sir John Hawkwood. This equestrian monument exemplified ... |
It is widely thought that he is the author of the frescoes Stories of the Virgin and Story of Saint Stephen in the Cappella dell'Assunta, Florence, so he likely visited nearby Prato sometime between 1435 and 1440. Later, in 1443, he painted the figures on the clock of the Duomo. In that same year and continuing into 14... |
Back in Florence in 1446, he painted the Green Stations of the Cross, again for the cloister of the church Santa Maria Novella. Around 1447–1454 he painted Scenes of Monastic Life for the church San Miniato al Monte, Florence. |
Battle of San Romano paintings |
Around the mid-1450s, he painted his three most famous paintings, the panels depicting The Battle of San Romano for the Palazzo Medici in Florence, commemorating the victory of the Florentine army over the Sienese in 1432. The extraordinarily foreshortened forms extending in many planes accentuate Uccello's virtuosity ... |
Later life |
By 1453, Uccello was married to Tommasa Malifici. This is known because, in that year Donato (named after Donatello), was born. Three years later, in 1456, his wife gave birth to their daughter, Antonia. Antonia Uccello (1456–1491) was a Carmelite nun, whom Giorgio Vasari called "a daughter who knew how to draw." She w... |
From 1465 to 1469, Uccello was in Urbino with his son Donato working for the Confraternity of Corpus Domini, a brotherhood of laymen. During this time, he painted the predella for their new altarpiece with the Miracle of the Profaned Host. (The main panel representing the "Communion of the Apostles" was commissioned to... |
In his Florentine tax return of August 1469, Uccello declared, "I find myself old and ailing, my wife is ill, and I can no longer work." In the last years of his life, Paolo was a lonesome and forgotten man who was afraid of hardship in life. His last known work is The Hunt, c. 1470. He made his testament on 11 Novembe... |
With his precise and analytical mind, Paolo Uccello tried to apply a scientific method to depict objects in three-dimensional space. In particular, some of his studies of the perspective foreshortening of the torus are preserved, and one standard display of drawing skill was his depiction of the mazzocchio. In the word... |
Works |
Pope-Hennessy is far more conservative than the Italian authors: he attributes some of the works below to a "Prato Master" and a "Karlsruhe Master". Most of the dates in the list (taken from Borsi and Borsi) are derived from stylistic comparison rather than from documentation. |
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