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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 influenced by concern for the welfare of his extended family. Therefore, he typically painted smaller formats and more marketable subjects. The basis of his works were small cabinet pictures, often genre works, but also landscapes and biblical themed works.
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 painter Artemisia Gentileschi.
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 Santa Maria Maggiore, San Nicola in Carcere, Santa Maria della Pace and San Giovanni in Laterano.
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 circulated amongst the artistic community of Rome over the preceding summer. Caravaggio's testimony during the trial as recorded in court documents is one of the few insights into his thoughts about the subject of art and his contemporaries. After Caravaggio's flight from Rome, Gentileschi developed a more personal Tuscan lyricism, characterized by lighter colours and precision in detail, reminiscent of his Mannerist beginnings.
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 Gentileschi.
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 around 1610–11, including a full length St Jerome.: p.94  Gentileschi also made studies from life for later use: he seems to have based the head of Abraham in the Sacrifice of Isaac, painted in the early 1620s, on studies of Molli's head made more than ten years before.: p.6 
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 carried out an elaborate scheme of frescoes of Old Testament subjects in a "casino" (since destroyed) in the grounds of his palace at Sampierdarena.: p.167
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 Louvre.: p.203 
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 (since destroyed) of Apollo and the Muses for Buckingham's newly rebuilt London home, York House, in the Strand.: p.225  He had already received a certain degree of royal patronage by the time of Buckingham's murder in April 1628, and all his commissions after this event came from the royal family.: p.223 
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 The Finding of Moses, (1633) one of which was sent to Philip IV of Spain; previously assumed to have been a gift from Charles I, it is now known to have been sent on Gentileschi's own initiative.
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. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.
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 Martyrdom of St. Erasmus. The painting was exhibited at Palazzo Molin, and is currently located in the National Gallery of Spinola in Genoa. In 1690 he was invited to Vienna by the Emperor Leopold I.
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 fresco technique. Michela Catalano, in an entry about Pagani on the Lombardia Beni Culturali website, states:The result is an extraordinary invention of illusionistic perspective, consisting of two quadratura domes connected by transverse arches, framing a complex composition, in which different iconographic themes, in turn, connect the (painted narratives) of lives of the saints to their respective side chapels. (In the center of the second dome) is depicted the Assumption of the Virgin... (To its side, is depicted) .. the Preaching of (John) the Baptist; on the opposite side of the vault, and above the chapel dedicated to Saint Apollonia, Catherine and Lucy, (the space is) decorated with frescoes the death sentence of the three martyrs, carried to glory by angels on the ceiling of the first span. The fantastic, dizzying rush of the vault ... is a veritable compendium of the experiences drawn from the figurative painters in Venice and Central Europe, from research on chiaroscuro and naturalistic styles of the Venetian tenebrosi artists, and impacted by the Baroque of Rubens, a reflection on models of Michelangelo, Tintoretto and other mannerists, supplemented by a precocious adoption of the illusionistic perspective methods of Andrea Pozzo.
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, Giorgio Vasari wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point. Uccello used perspective to create a feeling of depth in his paintings. His best known works are the three paintings representing the battle of San Romano, which were wrongly entitled the Battle of Sant'Egidio of 1416 for a long period of time.
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 imaginaires by Marcel Schwob, Uccello le poil by Antonin Artaud and O Mundo Como Ideia by Bruno Tolentino).
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 Florentine. His nickname Uccello ("little bird") came from his fondness for painting birds.
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 also around this time that Paolo began his lifelong friendship with Donatello. In 1414, Uccello was admitted to the painters' guild, Compagnia di San Luca, and just one year later, in 1415, he joined the official painter's guild of Florence Arte dei Medici e degli Speziali. Although the young Uccello had probably left Ghiberti's workshop by the mid 1420s, he stayed on good terms with his master and may have been privy to the designs for Ghiberti's second set of Baptistery doors, The Gates of Paradise. These featured a battle scene "that might well have impressed itself in the mind of the young Uccello," and thus influenced The Battle of San Romano.
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 Santa Trinita church. For the Santa Maria Maggiore church, he painted a fresco of the Annunciation. In this fresco, he painted a large building with columns in perspective. According to Vasari, people found this to be a great and beautiful achievement because this was the first example of how lines could be expertly used to demonstrate perspective and size. As a result, this work became a model for artists who wished to craft illusions of space in order to enhance the realness of their paintings.
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 promised him a more varied diet.
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. This love for birds is what led to his nickname, Paolo Uccelli (Paul of the birds).
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 lively manner. He also succeeded in painting trees in their natural colours. This was a skill that was difficult for many of his predecessors, so Uccello also began to acquire a reputation for painting landscapes. He followed this with Scenes from the Life of Noah, also for the Green Cloister. These scenes brought him great fame in Florence.
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 returned, Uccello remained in Florence for most of the rest of his life, executing works for various churches and patrons, most notably the Duomo.
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 his keen interest in perspective. The condottiere and his horse are presented as if the fresco was a sculpture seen from below.
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 1444, he designed a few stained glass windows for the same church. In 1444 he was also at work in Padua, and he travelled to Padua again in 1445 at Donatello's invitation.
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 as a draftsman, and provides a controlled visual structure to the chaos of the battle scene.
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 was even noted as a "pittoressa", a painter, on her death certificate. Her style and her skill remains a mystery as none of her work is extant.
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 Justus van Ghent and finished in 1474). Uccello's predella is composed of six meticulous, naturalistic scenes related to the antisemitic myth of host desecration, which was based upon an event that supposedly occurred in Paris in 1290. It has been suggested that the subject of the main panel, on which Duke Frederick of Montefeltro of Urbino appears in the background conversing with an Asian, is related to the antisemitic intention of the predella. However, Federico did allow a small Jewish community to live in Urbino and not all of these scenes are unanimously attributed to Paolo Uccello.
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 November 1475 and died shortly afterwards on 10 December 1475 at the hospital of Florence, at the age of 78. He was buried in his father's tomb in the Florentine church of Santo Spirito.
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 words of G. C. Argan: "Paolo's rigour is similar to the rigour of Cubists in the early 20th century, whose images were more true when they were less true to life. Paolo constructs space through perspective, and historic event through the structure of space; if the resulting image is unnatural and unrealistic, so much the worse for nature and history." The perspective in his paintings has influenced many famous painters, such as Piero della Francesca, Albrecht Dürer and Leonardo da Vinci, to name a few.
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.