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An engraving by Henry Thomas Ryall of Edward, First Earl of Sandwich. for Fisher's Drawing Room Scrap Book, 1837 with a poetical illustration by Letitia Elizabeth Landon that relates to the 4th Earl.
Spinello Aretino (c. 1350 – c. 1410) was an Italian painter from Arezzo, who was active in Tuscany at the end of the 14th and the first decade of the 15th century. His style influenced the development of late 14th- and early 15th-century painting in Tuscany.
Life
Spinello Aretino was the son of a Florentine named Luca. His family was active in the goldsmith trade and had taken refuge in Arezzo in 1310 when the rest of the Ghibelline party was exiled from Florence. His actual name was Spinello Di Luca Spinelli, but he was called 'Aretino' which means 'from Arezzo'.
In the past it was believed that Spinello was a pupil of Jacopo del Casentino, a follower of Giotto. However, this is no longer accepted by art historians. Spinello's style was a sort of link between the school of Giotto and that of Siena. In the early part of his life he worked in Florence as an assistant to his master Jacopo while painting frescoes in the church of the Carmine and in Santa Maria Novella. Between 1360 and 1384 he was occupied in painting many frescoes in and near Arezzo, almost all of which have now perished.
After the sack of Arezzo in 1384 Spinello returned to Florence, and in 1387–1388 with some assistants covered the walls and vault of the sacristy of San Miniato of Florence with a series of frescoes, the chief of which represent scenes from the life of Saint Benedict. These still exist, though in a sadly restored condition; they are very Giotto-like in composition, but have some of the Siena decorative brilliance of color.
In 1391-1392 Spinello was painting six frescoes, which still remain on the south wall of the Pisan Campo Santo, representing miracles of St. Potitus and St. Ephesus. For these he received 270 gold florins. Among his later works the chief are the very fine series of frescoes painted in 1407–1408 on the walls and vault of a chapel in the municipal buildings of Siena; these also have suffered much from repainting, but still are the finest of Spinello's existing frescoes. Frescoes in Sala di Balia of the Palazzo Pubblico represent the war of Frederick Barbarossa against the Pope Alexander III. Spinello died in Arezzo about 1410.
Work
Spinello's frescoes are all strong and highly decorative works, drawn with much spirit, and are very superior in style to his panel pictures, many of which appear to be mere bottega productions. The academy of Florence possesses a panel of the Madonna and Saints, which is chiefly interesting for its signature Hoc opus pinxit Spinellus Luce Aritio D.I.A. (1391). The easel pictures which are to be found in the various galleries of Europe give little or no notion of Spinello's power as a painter. One of the highlights of his late career is a cycle of frescos on the life of Pope Alexander III made for the Sala di Balia of the Palazzo Pubblico in Siena.There is an important painting by Spinello Aretino in the Cleveland Museum of Art,"Virgin and Christ Child With Angels".
There is also an important painting by Spinello Aretino in the Chicago Art Institute,"Saint Francis Before The Pope".There are also paintings by Spinello Aretino in the Hermitage Art Museum in Saint Petersburg,Russia("Saint Benedict")("Saint Pontianus").There is also a Late Medieval Italian Painting by Spinello Aretino in the RISD Art Museum in Providence,Rhode Island("Saint Anthony Abbott Enthroned").
References
Attribution
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Spinello Aretino". Encyclopædia Britannica. Vol. 25 (11th ed.). Cambridge University Press. p. 685.
Further reading
Weppelman, Stefan (2011). Spinello Aretino e la pittura del Trecento in Toscana. Firenze. ISBN 978-88-596-0877-6.
External links
Media related to Spinello Aretino at Wikimedia Commons
Stefano Torelli (1712–1784) was an Italian painter. He was born in Bologna. He studied first under his father, Felice Torelli, and then under Francesco Solimena. The future King of Poland, Augustus III, brought him to Dresden in 1740, where he painted altar-pieces and ceiling decorations, many destroyed in the Seven Years' War. He painted figures in Canaletto's twenty-nine views of Dresden (1741). In 1762 he was summoned to the Russian court where he painted ceilings in the Royal Palace, and some portraits, among the latter one of the Empress Elizabeth in armor. He was a clever caricaturist, and etched a few plates. He died in St. Petersburg.
Gallery
References
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. 580.
Sébastien Bourdon (French pronunciation: [sebastjɛ̃ buʁdɔ̃]; 2 February 1616 – 8 May 1671) was a French painter and engraver. His chef d'œuvre is The Crucifixion of St. Peter made for the cathedral of Notre Dame.
Biography
Bourdon was born in Montpellier, France, the son of a Protestant painter on glass. He was apprenticed to a painter in Paris. In spite of his poverty he managed to get to Rome in 1636. There he studied the paintings of masters such as Nicolas Poussin, Claude Lorrain and Caravaggio. He was forced to flee Rome in 1638, fearing prosecution for his Reformed Protestant faith.
He lived in Paris from 1637 to 1652.
In 1648, Bourdon was one of the founders of the French Royal Academy of Painting and Sculpture and was elected as one of the original twelve elders in charge of its running.
In 1652 he departed for Sweden, where Queen Christina of Sweden made him her first court painter.
Bourdon's facility rendered him adept at portraiture, whether in a dashing Rubens manner or in intimate, sympathetic bust-length or half-length portraits isolated against plain backgrounds that set a formula for middle-class portraiture for the rest of the century, landscapes in the manner of Gaspar Dughet or capricci of ruins, mythological "history painting" like other members of Poussin's circle or the genre subjects of the Dutch Bamboccianti who were working in Rome. His eclectic range of styles have given art historians exercise in tracing his adaptation of his models, while the lack of an immediately recognizable "Bourdon style" has somewhat dampened public appreciation. Some of his work was in the neoclassical style of Parisian Atticism.
Bourdon spent most of his working career outside France, where, though he was a founding member of the Académie royale, he was for long largely dismissed as a pasticheur, a situation partly rectified by a comprehensive exhibition in 2000 of his work at the Musée Fabre, Montpelier (whose collection includes a fine Lamentation painted in the last years of his life).
His success required the establishment of an extensive atelier, where his pupils included Nicolas-Pierre Loir and Pierre Mosnier. He died in Paris in 1671.
References
Further reading
Laureati, Laura, 1983. in Giuliano Briganti, Ludovica Trezzani, and Laura Laureati. The Bamboccianti: The Painters of Everyday Life in Seventeenth Century Rome (Rome) pp. 238–45
External links
Media related to Sébastien Bourdon at Wikimedia Commons
Sébastien Bourdon on-line
Web Gallery of art: Sébastien Bourdon
The Encampment, c. 1636-38 (Oberlin College). A genre scene set in a fantastic landscape of lowering cliffs.
Portrait (engraving) of Sébastien Bourdon by Laurent Cars at University of Michigan Museum of Art
Sebastian (or Sébastien) Stoskopff (July 13, 1597 – February 10, 1657) was an Alsatian painter. He is considered one of the most important German still life painters of his time. His works, which were rediscovered after 1930, portray goblets, cups and especially glasses. The reduction to a few objects, which is characteristic of early still life painting, can again be recognized in Stoskopff's painting. His chief works hang in his hometown of Strasbourg, but some of the world's most important art museums (the MET, the Louvre, the KHM, the Gemäldegalerie) own paintings by Stoskopff as well.
Life
Sebastian Stoskopff was born in 1597 in Strasbourg. His father was employed by the city since 1590 and acted as a mounted courier or royal escort, driving a one-horse carriage. In 1614, Stoskopff's father asked the Strasbourg council for help for his 17-year-old son. He wanted him to be able to learn the craft of painting, since Sebastian had already been extremely talented in drawing and painting since he was 15. The council agreed to provide their support and probably sent the young artist at first to the Strasbourg painter and copper engraver, Friedrich Brentel. However, he only learned how to further refine his drawing and was not, as hoped, introduced to the art of painting.
In 1615, Stoskopff's father died and his widowed mother went to the Strasbourg council once again to ask for support for training from a recognized painter. Stoskopff was then sent to Daniel Soreau, a painter who was active in Hanau. In the beginning, Soreau was not very enthusiastic, since he usually chose his apprentices from among his relatives and close friends. However, he finally complied with the request of the council and assured them that would "make an Albrecht Dürer of this apprentice". There is not a single definite picture by Daniel Soreau existing. It is only possible to draw conclusions about how well the master passed on his artistic skills to his students through the works of his sons, other apprentices of his workshop and through Stoskopff's works.
After Soreau's death in 1619, Stoskopff took over his workshop with the apprentices, as well as his function as the master. One of the apprentices was Joachim von Sandrart, who later became a successful painter and who wrote the first important work on the history of art in the German language: "Teutsche Academie der Bau-, Bild,- und Malerey- Künste". This work contains descriptions of the lives of earlier and contemporary artists, including descriptions of the time in Hanau with his master, Sebastian Stoskopff.
After his attempt to get permission to settle in Frankfurt failed, Stoskopff went to Paris. He stayed there from about 1622 until 1639, which can be reconstructed from indirect reports and property inventories of Parisians. His first works in larger format were also created here, such as "Summer" or "Winter" (now both in Strasbourg). A contemporary statement from Sandrart proves his residence in Paris: "Von dannen [gemeint ist Hanau] verreiste er in Frankreich und hinterließ viele gute Werke; von Pariß zoge er nach Italien (allwo ich ihn zu Venedig Anno 1629 gesehen), hernach wieder zurück nach Pariß und so fürters nach Straßburg [...] ("From there [meaning Hanau], he travelled to France and left many good works; from Paris, he moved to Italy (where I saw him in Venice in 1629), afterwards again back to Paris and further to Strasbourg [...]").
Stoskopff returned to Strasbourg in 1639. This could have been for familial reasons or because of the strong increase of religious conflict in Paris. One year later, he joined the guild of Steltz, to which other painters, copper engravers and craftsmen in the arts belonged. There were several arguments between the artist and the guild after he joined it, among other things because Stoskopff loved his freedom as an independent and self-responsible artist and did not want to operate a workshop with apprentices, as was usually done. He achieved wealth and prestige in Strasbourg and married the stepdaughter of his youngest sister in 1646.
As of 1650, Stoskopff oriented himself more and more toward Idstein, where he maintained a close and good relationship to the Count Johannes von Nassau und Idstein in his last phase of creativity up until his death. The Count was a Lutheran and supported the Protestant Union. He was Stoskopff's most important patron at this time. Joachim von Sandrart was an important contact man who negotiated about Stoskopff's paintings with the Count.
Sebastian Stoskopff died in 1657 at the age of 60 in a public house in Idstein. He was reportedly supposed to have died because of drinking too much alcohol. Nearly 20 years later, Stoskopff's murder became clear during an indictment for witchcraft, in which the owner of the public house and a woman were involved. The owner had killed Stoskopff out of greed.
Influence
Although Sebastian Stoskopff was influenced by Georg Flegel regarding artistic composition, it is not known whether he had known Flegel during his lifetime or whether he saw Flegel's works only after his death. Furthermore, his influence appears to have been "rather sporadic and not long lasting".
Gallery
Further information
References
Literature
All references in German, except where noted
Ebert-Schifferer, Sybille (1998): Die Geschichte des Stillebens. Munich: Hirmer. ISBN 3-7774-7890-3
Hahn - Woernle, Birgit: Sebastian Stoskopff: Mit einem kritischen Werkverzeichnis der Gemälde. Stuttgart 1996.
Müller, Prof. Dr. : Die Stilleben- Bildkunst des Sebastian Stoskopff. In: Ausst.- Kat. Sebastian Stoskopff- sein Leben- sein Werk- seine Zeit, publ. by Prof. Dr. Wolfgang J. Müller/ Silvia Berger. Idstein 1987.
Heck, Michèle- Caroline: Sébastian Stoskopff: 1597- 1657. Un maître de la nature morte. Strasbourg 1997. (in French, also available as a German translation)
Telemaco Signorini (Italian pronunciation: [teˈlɛːmako siɲɲoˈriːni]; August 18, 1835 – February 10, 1901) was an Italian artist who belonged to the group known as the Macchiaioli.
Biography
He was born in the Santa Croce quarter of Florence, and showed an early inclination toward the study of literature, but with the encouragement of his father, Giovanni Signorini (1808–1864), a court painter for the Grand Duke of Tuscany, he decided instead to study painting. In 1852 he enrolled at the Florentine Academy, and by 1854 he was painting landscapes en plein air. The following year he exhibited for the first time, showing paintings inspired by the works of Walter Scott and Machiavelli at the Società Promotrice delle Belle Arti.
In 1855, he began frequenting the Caffè Michelangiolo in Florence, where he met Giovanni Fattori, Silvestro Lega, Saverio Altamura and several other Tuscan artists who would soon be dubbed the Macchiaioli. The Macchiaioli, dissatisfied with the antiquated conventions taught by the Italian academies of art, started painting outdoors in order to capture natural light, shade, and color. They were forerunners of the Impressionists who, beginning in the 1860s, would pursue similar aims in France.
Signorini was a volunteer in the Second Italian War of Independence in 1859, and afterwards painted military scenes which he exhibited in 1860 and 1861. He made his first trip outside Italy in 1861 when he visited Paris, to which he would often return in the decades that followed. There he met Degas and a group of expatriate Italian artists in his orbit, including Giovanni Boldini, Giuseppe De Nittis, and Federico Zandomeneghi; unlike them, however, Signorini remained rooted in Italy. He became not only one of the leading painters of the Macchiaioli, but also their leading polemicist. Art historian Giuliano Matteucci has written: "If we acknowledge Fattori and Lega as the major creative figures of the macchiaioli, then Signorini must surely be recognized as their 'deus ex machina'", describing his role as "that of catalyst and energetic doctrinarian. In transforming attention away from history painting and the academic portrait towards a new poetical interpretation of natural landscape, the part of Signorini was of fundamental consequence to macchiaioli painting."
Exhibitions
His presence at exhibitions was frequent and prolific. In 1860, at the Società Promotrice, he exhibited seven paintings, including I Toscani a Calcinato (The Calcined Tuscans). In 1861, he sent to Turin a somewhat polemical The ghetto of Venice. In 1865, he exhibited Le pazze (The Crazy Ones). In 1869 he made a series of etchings, and visited Paris for the second time. In 1870, at the Expositions of Parma and the Società Promotrice, he exhibited November which received a prize. In 1873, he traveled to Paris and London with De Nittis. Signorini exhibited Fuori porta Arianna a Ravenna (Outside the Arianna Gate, Ravenna) at the Exposition of Naples in 1877. His painting L'alzaia (The Towpath, completed in the 1860s) won awards at the Exposition of Vienna of 1874. In 1880, he exhibited in Turin the painting depicting The Ponte Vecchio. In 1881, he traveled to paint in Scotland.
At the 1882 Società Promotrice, he displayed The Ghetto of Florence and Riomaggiore. In 1883: Princes Street in Edinburgh; A Primi Castagnaio e Adolescenza, the latter also exhibited Turin in 1884, along with the canvas of the ghetto. At the 1885 Società Promotrice, he exhibited Evening Sun at Settignano; Morning Sun; Sunday at Riomaggiore; Santa Croce from the Via dei Malcontenti; Among the Olive Trees; Midday in the Country; To Settignano; Morning on the Banks of the Arno; Bigherinale of Settignano; In the Garden; Near Sunset; Piancastagnaio in Monte Amiata; August Sun; Baccano in Arcola; Autumn in the Fields; Via degli Speziali at the Mercato Vecchio; seven Vedute of the Isle of Elba, and many studies completed in Pietramala; Arcola in Val di Magra, and a portrait of "Mago Chiò", a legendary thief on Elba. At the Exposition of Livorno he had three canvases; at 1887 in Venice, six paintings.
Signorini was also a passionate art critic, and was published in art journals, including a series of 99 sonnets titled Le 99 discussioni artistiche di E. G. Moltenì. In 1882, he was nominated professor of the Florentine Academy but declined the appointment.
Works
Among his most notable paintings are The Ward of the Madwomen at S. Bonifazio in Florence (1865, Venice, Gallery of Modern Art in the Cà Pesaro); Prison Bath in Portoferraio (ca. 1890, Florence, Gallery of Modern Art in the Palazzo Pitti), which portrays the well-known brigand Carmine Crocco during his imprisonment; and Leith (1881, Florence, Gallery of Modern Art in Palazzo Pitti). The latter, a street scene observed on a trip to Scotland, is predominantly gray in tonality, but dominated by a brightly colored Rob Roy Whisky billboard on the side of a building. Art historian Norma Broude has written of Leith: On the formal level, certainly, the Rob Roy sign arrests our attention and plays with our expectations here as audaciously as a collage element in an early twentieth-century cubist composition. What permitted and encouraged Signorini's experimentation in this remarkably precocious and unprecedented manner was unquestionably the experience of photography ... For with his vision conditioned by that experience, he could accept—as the eye of the camera accepts— what artists before him would normally have pruned or screened out of their interpretations of such a scene.
The influence of photography is often suggested by the asymmetrical compositions of Signorini's works, and his late etchings of street scenes reveal additional influences: those of Japanese art, and Whistler, in their simplifications of shape, atmospheric effects, and flattened treatment of space.
In 1888 he began teaching at the Instituto Superiore di Belle Arti in Florence. He died in that city on February 10, 1901.
Other selected paintings
References
Further reading
Broude, Norma (1987). The Macchiaioli: Italian Painters of the Nineteenth Century. New Haven and London: Yale University Press. ISBN 0-300-03547-0
Steingräber, E., & Matteucci, G. (1984). The Macchiaioli: Tuscan Painters of the Sunlight : March 14-April 20, 1984. New York: Stair Sainty Matthiesen in association with Matthiesen, London. OCLC 70337478
Panconi, T., (1999). Telemaco Signorini, il caso del pittore letterato. In the Antologia dei Macchiaioli, la trasformazione sociale e artistica nella Toscana di metà Ottocento. Pisa: Pacini Editore.