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In 1547, he went to Rome to study under Perin del Vaga. He was employed in the decoration of the Sala del Consiglio of Castel Sant'Angelo. When Perino died in 1547, Tibaldi became the leader in the large-scale fresco painting of the chambers and doorways (1547–1549). The frescoes are described as Michelangelesque in... |
Other works were for Cardinal Giovanni Poggi in Bologna, and he carried out numerous commissions for him. Tibaldi painted frescoes of the Story of Ulysses in the Palazzo Poggi, scenes from the life of the Baptist in the Poggi chapel, and scenes from the Life of Moses in the Palazzo Sacchetti in Rome. He constructed a ... |
He lived in Ancona between 1558 and 1561. Here he painted frescoes for Loggia dei Mercanti and Palazzo Ferretti. In 1561, he met Cardinal Carlo Borromeo, who employed him in Milan mostly as architect in the nearly endless task of constructing the cathedral, working on various projects in the cathedral, the courtyard of... |
In 1586 he went to Spain, where he followed and replaced Federico Zuccari as main court painter. He painted in the lower cloisters of El Escorial at the request of King Philip II. His greatest work were frescoes in the library.[1][2][3] After nine years, he returned to Italy and was appointed architect of the Duomo of ... |
Pellegrino's brother, Domenico Tibaldi was a painter and architect active in Bologna. Among his pupils were Orazio Samacchini, Lorenzo Sabbatini, and Girolamo Miruoli. |
Partial anthology of works |
References |
The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries (exh. cat., Washington, N.G.A.; New York, Met.; Bologna, Pinacoteca; 1986) |
Painting in Italy 1500–1600, S. J. Freedberg, (Penguin History of Art, 2nd Edition, 1983). 567–572. |
Pellegrino Tibaldi – Catholic Encyclopedia article |
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II: L-Z. London: George Bell and Sons. p. 571. |
External links |
Scholarly articles in English about Pellegrino Tibaldi. Workshop of both in web and PDF @ the Spanish Old Masters Gallery |
Carl August Peter Cornelius (24 December 1824 – 26 October 1874) was a German composer, writer about music, poet and translator. |
Life |
He was born in Mainz to Carl Joseph Gerhard (1793–1843) and Friederike (1789–1867) Cornelius, actors in Mainz and Wiesbaden. From an early age he played the violin and composed, eventually studying with Tekla Griebel-Wandall and composition with Heinrich Esser in 1841. He lived with his painter uncle Peter von Corneliu... |
His early compositions included chamber and church music and secular songs, among which stands the Stabat Mater for soloists, choir, and orchestra, composed in 1849. Cornelius's first mature works (including the opera Der Barbier von Bagdad) were composed during his brief stay in Weimar (1852–1858). His next place of r... |
During his last few years in Berlin, Cornelius wrote music criticism for several major Berlin journals and entered into friendships with Joseph von Eichendorff, Paul Heyse and Hans von Bülow. Despite his long-standing association with Wagner and Franz Liszt (the latter on occasion sought Cornelius's advice when it came... |
Cornelius's third and final operatic project, Gunlöd, based on the Norse eddas, was left incomplete at his death (from diabetes) in Mainz. He was buried in the city's Hauptfriedhof, and his grave can still be seen there. |
Legacy |
The Mainz Conservatory was renamed the Peter Cornelius Conservatory in 1936. The state of Rhineland-Palatinate honors musical achievements with the Peter Cornelius Award since 1951. |
A bust created by Hugo Lederer in 1930 is displayed in Park Drususwall, Mainz. |
Several streets and squares are named after him in Mainz (Peter-Cornelius-Platz) and across other German cities such as Berlin, Frankfurt am Main, Augsburg and Weimar, as well as in Vienna, Salzburg, and Waalwijk, Netherlands. |
The Peter Cornelius Archive is an extensive collection maintained by the Mainz City Library, consisting of the composer’s personal items, documents, and musical works. It includes around 50 original music manuscripts, 58 notebooks with diaries, sketches, and poems, personal memorabilia like death masks, and over 2,600 ... |
In Britain to this day, Cornelius's best-known work is "The Three Kings" ("Die Könige"), a song for solo voice and piano originally from his 1856 song cycle, Weihnachtslieder. The song's melody line is accompanied by the chorale tune of "Wie schön leuchtet der Morgenstern" ("How brightly shines the morning star"), writ... |
Selected works |
Stabat mater for soloists, chorus and orchestra (1849) |
Brautlieder (1856) |
Weihnachtslieder, Op. 8 (1856) |
Der Barbier von Bagdad, opera buffa (1858) |
Der Cid, opera (1865) |
Requiem ("Seele, vergiß sie nicht"), after a poem of Hebbel (1872) |
String quartets |
Gunlöd, unfinished opera in three acts based on the story Hávamál in the version found in the Edda; completed by Karl Hoffbauer for its 1879 publication; premiered at the Hoftheater Weimar on May 6, 1891 with new orchestrations by Eduard Lassen. A different completed version by Max Hass (vocal score) and Waldemar von... |
Mass in D minor, CWV 91 for two soloists, chorus and organ, strings |
References |
Cited sources |
Chisholm, Hugh, ed. (1911). "Cornelius, Carl August Peter" . Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. pp. 167–168. |
External links |
Works by or about Peter Cornelius at the Internet Archive |
Works by Peter Cornelius at LibriVox (public domain audiobooks) |
Free scores by Peter Cornelius at the International Music Score Library Project (IMSLP) |
Free scores by Peter Cornelius in the Choral Public Domain Library (ChoralWiki) |
Free scores at the Mutopia Project |
Peter Cornelius Mahler Foundation |
Cornelius, Peter (in German) Oesterreichisches Musiklexikon |
Sir Peter Paul Rubens ( ROO-bənz, Dutch: [ˈpeːtər pʌul ˈrybəns]; 28 June 1577 – 30 May 1640) was a Flemish artist and diplomat. He is considered the most influential artist of the Flemish Baroque tradition. Rubens' highly charged compositions reference erudite aspects of classical and Christian history. His unique and ... |
He was born and raised in the Holy Roman Empire (modern-day Germany), to parents who were refugees from Antwerp in the Duchy of Brabant in the Southern Netherlands (modern-day Belgium) and moved to Antwerp at about 12. In addition to running a large workshop in Antwerp that produced paintings popular with nobility and ... |
His commissioned works were mostly history paintings, which included religious and mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the e... |
He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but used canvas as well, especially when the work needed to be sent a long distance. For altarpieces, he sometimes painted on slate to reduce reflection problems. |
Life |
Early life |
Rubens was born in Siegen, Nassau to Jan Rubens and Maria Pypelincks. His father's family were long-time residents of Antwerp tracing their lineage there back to 1350. Records show that a certain Arnold Rubens bought 'a house with court' in the Gasthuisstraat in Antwerp in 1396. The Rubens family belonged to the well-... |
Jan Rubens became in 1570 the legal adviser of Anna of Saxony, the second wife of William I of Orange who at the time lived in Cologne. She later moved to Siegen about 90 kilometres from Cologne. Jan Rubens would visit her there while his family remained in Cologne. He had an affair with Anna of Saxony, which resulted... |
Thanks to the repeated pleas of his wife and by paying a bail bond of 6,000 thalers, Jan Rubens was permitted to leave prison after two years. The conditions of his release were a ban on practising as a lawyer and the obligation to take up residence in Siegen where his movements would be supervised. This put the rest o... |
Apprenticeship |
Until his death in 1587, father Jan had been intensively involved in his sons' education. Peter Paul and his older brother Philip received a humanist education in Cologne which they continued after their move to Antwerp. They studied at the Latin school of Rombout Verdonck in Antwerp, where they studied Latin and class... |
While his brother Philip would continue with his humanistic and scholarly education while working as a private teacher, Peter Paul first took up a position as a page to the countess Marguerite de Ligne-Arenberg, whose father-in-law had been the governor general of the Spanish Netherlands. The countess was the widow of ... |
Rubens left Verhaecht's workshop after about one year as he wished to study history painting rather than landscape painting. He then continued his studies with one of the city's leading painters of the time, the artist Adam van Noort. Van Noort was a so-called Romanist, a term used to denote artists who had travelled f... |
He subsequently studied with another Romanist painter, Otto van Veen. Van Veen offered Rubens the intellectual and artistic stimulation that suited his temperament. Van Veen had spent five years in Italy and was an accomplished portraitist and had a broad Humanist education. He knew Spanish royalty and had received por... |
Adam and Eve (Rubenshuis, Antwerp, c. 1599) and the Battle of the Amazons (Bildergalerie, Potsdam-Sanssouci) show the influence of his master van Veen. This style was characterised by a pronounced Italianate mannerism constrained by the Antwerp workshop tradition and the Italian art theory of the Renaissance. |
Italy (1600–1608) |
In 1600 Rubens travelled to Italy with his first pupil Deodat del Monte. They stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto. The colouring and compositions of Veronese and Tintoretto had an immediate effect on Rubens' painting, and his later, mature style was profoundly influenced ... |
Rubens came in Rome also under the spell of the recent, highly naturalistic paintings by Caravaggio. He later made a copy of Caravaggio's Entombment of Christ and recommended his patron, the Duke of Mantua, to buy The Death of the Virgin (Louvre). He remained a strong supporter of Caravaggio's art as shown by his impor... |
Rubens travelled to Spain on a diplomatic mission in 1603, delivering gifts from the Gonzagas to the court of Philip III. While there, he studied the extensive collections of Raphael and Titian that had been collected by Philip II. He also painted an equestrian portrait of the Duke of Lerma during his stay (Prado, Madr... |
He returned to Italy in 1604, where he remained for the next four years, first in Mantua and then in Genoa. In Genoa, Rubens painted numerous portraits, such as the Marchesa Brigida Spinola-Doria (National Gallery of Art, Washington, D.C.), and the portrait of Maria di Antonio Serra Pallavicini, in a style that influen... |
From 1606 to 1608, he was mostly in Rome when he received, with the assistance of Cardinal Jacopo Serra (the brother of Maria Pallavicini), his most important commission to date for the High Altar of the city's most fashionable new church, Santa Maria in Vallicella also known as the Chiesa Nuova. The subject was St. Gr... |
Rubens's experiences in Italy continued to influence his work even after his return to Flanders. His stay in Italy had also allowed him to build a network of friendships with important figures of his time such as the scientist Galileo Galilei whom he included as the central figure in his friendship portrait he painted ... |
Antwerp (1609–1621) |
Upon hearing of his mother's illness in 1608, Rubens planned his departure from Italy for Antwerp, but she died before he arrived home. His return coincided with a period of renewed prosperity in the city with the signing of the Treaty of Antwerp in April 1609, which initiated the Twelve Years' Truce. In September 1609... |
He received special permission to base his studio in Antwerp instead of at their court in Brussels, and to also work for other clients. He remained close to the Archduchess Isabella until her death in 1633, and was called upon as a painter and also as an ambassador and diplomat. Rubens further cemented his ties to the ... |
In 1610, Rubens moved into a new house and studio that he designed. Now the Rubenshuis Museum, the Italian-influenced villa in the centre of Antwerp accommodated his workshop, where he and his apprentices made most of the paintings, and his personal art collection and library, both among the most extensive in Antwerp. ... |
Rubens built another house to the north of Antwerp in the polder village of Doel, "Hooghuis" (1613/1643), perhaps as an investment. The "High House" was built next to the village church. |
Altarpieces such as The Raising of the Cross (1610) and The Descent from the Cross (1611–1614) for the Cathedral of Our Lady were particularly important in establishing Rubens as Flanders' leading painter shortly after his return. The Raising of the Cross, for example, demonstrates the artist's synthesis of Tintoretto'... |
Rubens used the production of prints and book title-pages, especially for his friend Balthasar Moretus, the owner of the large Plantin-Moretus publishing house, to extend his fame throughout Europe during this part of his career. In 1618, Rubens embarked upon a printmaking enterprise by soliciting an unusual triple pri... |
Marie de' Medici Cycle and diplomatic missions (1621–1630) |
In 1621, the Queen Mother of France, Marie de' Medici, commissioned Rubens to paint two large allegorical cycles celebrating her life and the life of her late husband, Henry IV, for the Luxembourg Palace in Paris. The Marie de' Medici cycle (now in the Louvre) was installed in 1625, and although he began work on the se... |
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