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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 maste... |
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 condi... |
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 o... |
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 ... |
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... |
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 Ye... |
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, fe... |
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 ... |
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 Lame... |
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 charact... |
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 paint... |
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 apprent... |
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 B... |
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 ... |
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 arti... |
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... |
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 ... |
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... |
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 pain... |
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 expa... |
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 serie... |
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; ... |
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; an... |
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. |
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