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Individual style |
When Jacopo died in 1594, Domenico handily took over the running of the studio of Tintoretto, with the help of his younger brother Marco, and his assistant Bastian Casser. While Domenico's early work continued on in the vein of his father's artistic vision, coupling phosphorescent colours with figure-laden compositions... |
Thematic influences |
In Domenico's youth, he devoted some time to the study of literature which would inform his poetical, historical and moral themes. He painted four canvases from Ludovico Ariosto on the subject of Verginella and from Lucretius and Marino he painted a man sitting on a cradle with one foot on the edge of a tomb, implying,... |
Assessment |
Attribution |
The attribution of paintings from the Tintoretto studio is a subject of scholarly debate in determining which paintings were executed by the father and which by his son. But one such scholar takes this debate of attribution a step further. E. Tietze-Conrat finds Domenico's painting to be so accomplished that she sugges... |
Heir to studio |
At age seventy-four Domenico was stricken with apoplexy and lost the use of his right hand. Though he attempted to paint with his left hand, this proved unsuccessful. Domenico had toyed with the idea of giving the studio to its present painters for the formation of an academy, but eventually, his vexation with these pa... |
Gallery |
References |
Edward Chaney and Timothy Wilks, The Jacobean Grand Tour: Early Stuart Travellers in Europe (I.B. Tauris: London, 2014) |
“Domenico Tintoretto.” Grove Art Online. |
“A Portrait by Domenico Tintoretto.” The Connoisseur. Vol. 97, 1936, p. 160. |
Ridolfi, Carlo. The Life of Tintoretto and of his Children Domenico and Marietta. The Pennsylvania State University Press: London, 1984. |
Tietze-Conrat, E. “The Holkham Venus in the Metropolitan Museum.” The Art Bulletin. Vol. 26, No. 4 (Dec., 1944), pp. 266–270. |
External links |
6 artworks by or after Domenico Tintoretto at the Art UK site |
Dominic Serres (1722–1793), also known as Dominic Serres the Elder, was a French-born painter strongly associated with the English school of painting, and with paintings with a naval or marine theme. Such were his connections with the English art world, that he became one of the founding members of the Royal Academy i... |
Life and works |
Born in Auch, Gascony, he was initially expected to train as a priest but instead travelled to Spain and became a ship's captain, sailing to Cuba. He was taken prisoner by the British navy towards the end of the 1740s and eventually settled in London in about 1758, where it is believed he trained as a painter in Northa... |
Reflecting his early career, many of his paintings have naval themes. Working for a publisher documenting the events in the Seven Years' War (1756–1763), he painted a series of depictions including the capture of Havana in 1762. He also painted events in the American Revolutionary War, such as the disastrous Penobscot ... |
Serres died in 1793, and was buried at St. Marylebone Old Church. His eldest son John Thomas Serres (1759–1825) also became a prolific marine artist. |
Gallery |
References |
This article incorporates text from a publication now in the public domain: "Serres, Dominic". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900. |
Further reading |
Russett, Alan. Dominic Serres 1719 - 1793: War Artist to the Navy (Antiques Collectors Club, 2001). |
External links |
91 artworks by or after Dominic Serres at the Art UK site |
Dominic Serres online (ArtCyclopedia) |
Dominic Serres (Biography and works at the Royal Academy of Arts, London). |
Serres biography and works (National Maritime Museum, London) |
Serres ancestry ("rootsweb") |
An English man-o'war shortening sail entering Portsmouth harbour (painting – exhibited in 1778) |
Giovanni di Niccolò de Luteri, better known as Dosso Dossi (c. 1489–1542), was an Italian Renaissance painter who belonged to the School of Ferrara, painting in a style mainly influenced by Venetian painting, in particular Giorgione and early Titian. |
From 1514 to his death he was court artist to the Este Dukes of Ferrara and of Modena, whose small court valued its reputation as an artistic centre. He often worked with his younger brother Battista Dossi, who had worked under Raphael. He painted many mythological subjects and allegories with a rather dream-like atmos... |
Biography |
Dossi was born in San Giovanni del Dosso, a village in the province of Mantua. His early training and life are not well documented; his father, originally of Trento, was a bursar (spenditore or fattore) for the Dukes of Ferrara. He may have had training locally with Lorenzo Costa or in Mantua, where he is known to have... |
Dosso Dossi is known less for his naturalism or attention to design, and more for cryptic allegorical conceits in paintings around mythological themes, a favored subject for the humanist Ferrarese court (see also Cosimo Tura and the decoration of the Palazzo Schifanoia). Dossi employed eccentric distortions of proport... |
The painting Aeneas in the Elysian Fields was part of the Camerino d'Alabastro of Alfonso I in the Este Castle, decorated with canvases depicting bacchanalia and erotic subjects including Feast of the Gods by Giovanni Bellini and Venus Worship by Titian. The frieze paintings were based on the Aeneid; this scene by Doss... |
In Hercules and the Pygmies, Hercules has fallen asleep after defeating Antaeus, and is set upon by an army of thumb-size pygmies, whom he defeats. He gathers them in his lion skin. Paintings depicting a powerful Hercules were commonly made for the then-ruler Duke Ercole II d'Este. The subjects of the Mythological Scen... |
Recently, "Portrait of a Youth" at the National Gallery of Victoria, has been identified by the museum as a portrait of Lucrezia Borgia by Dosso Dossi, having previously been regarded as the portrait of an unknown young male by an unknown painter. |
In Ferrara, among his pupils were Gabriele Capellini, Jacopo Panicciati, and Giovanni Francesco Surchi. |
Selected works |
Holy Family with Donors (1514, Philadelphia Museum of Art) |
Aeneas in the Elysian Fields, (1518–1521, National Gallery of Canada, Ottawa) |
The Virgin Appearing to Sts John the Baptist and John the Evangelist (1520s, Uffizi Gallery, Florence) |
Jupiter painting Butterflies, Mercury and the Virtue, (1524, Wawel Castle, Kraków) |
Mythological Scene, c.1524; oil on canvas, 164 × 145 cm, J. Paul Getty Museum, Los Angeles |
Allegory of Music, (1530s, Museo Horne, Florence) |
Allegory of Fortune, c.1530; oil on canvas, 178 × 216.5 cm, J. Paul Getty Museum, Los Angeles |
Portrait of a Woman, 1530–1535; oil on canvas, Musée Condé |
Virgin of the Assumption and St. Michael the Archangel, c.1533–34, Galleria nazionale di Parma |
Three Ages of Man or Rustic Idyll; 77.5 × 11.8 cm, Metropolitan Museum of Art |
Aeneas, Barber Institute, Birmingham |
Hercules and the Pygmies Alte Galerie of the Joanneum Graz |
Tubalcain (Allegory of Music) Museo Horne |
Witchraft Stregoneria (Choice of Hercules between Vice and Virtue) Galleria degli Uffizi |
Saint Michael (Staatliche Kunstsammlungen, Dresden) |
Saint George and the Dragon (Staatliche Kunstsammlungen, Dresden) |
Portrait of a Warrior, Uffizi Gallery, Florence |
Portrait of a Youth, portrait of Lucrezia Borgia, National Gallery of Victoria |
The stoning of Saint Stephen, Thyssen-Bornemisza Museum, Madrid, on loan to the MNAC Barcelona. |
Notes |
References |
Hartt, Frederick, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104 |
Gibbons, Felton (1968). Dosso and Battista Dossi; court painters at Ferrara. Princeton, NJ: Princeton University Press. |
J. Carter Brown (1986). National Gallery of Art (ed.). The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries (First ed.). Cambridge University Press. pp. 111–128. ISBN 978-0521340199. |
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500–1600. pp. 315–322 Penguin Books Ltd. |
Ciammitti, Luisa; Ostrow, Steven F.; Settis, Salvatore (1998). Dosso's fate: painting and court culture in Renaissance Italy. Los Angeles: Getty Research Institute for the History of Art and the Humanities. ISBN 0-89236-505-6. |
External links |
Dosso Dossi: Court Painter in Renaissance Ferrara, a full text exhibition catalog from The Metropolitan Museum of Art |
Short biography and pictures at the J. Paul Getty Museum |
Images of some paintings |
Gallery at MuseumSyndicate Archived 2010-09-13 at the Wayback Machine |
Works by Dosso Dossi at Census of Ferrarese Paintings and Drawings |
Duccio di Buoninsegna (UK: DOO-chee-oh, Italian: [ˈduttʃo di ˌbwɔninˈseɲɲa]; c. 1255–1260 – c. 1318–1319), commonly known as just Duccio, was an Italian painter active in Siena, Tuscany, in the late 13th and early 14th century. He was hired throughout his life to complete many important works in government and religio... |
Biography |
Although much is still unconfirmed about Duccio and his life, there is more documentation of him and his life than of other Italian painters of his time. It is known that he was born and died in the city of Siena, and was also mostly active in the surrounding region of Tuscany. Other details of his early life and famil... |
One avenue to reconstructing Duccio's biography are the traces of him in archives that list when he ran up debts or incurred fines. Some records say he was married with seven children. The relative abundance of archival mentions has led historians to believe that he had difficulties managing his life and his money. Due... |
Another route to filling in Duccio's biography is by analyzing the works that can be attributed to him with certainty. Information can be obtained by analyzing his style, the date and location of the works, and more. Due to gaps where Duccio's name goes unmentioned in the Sienese records for years at a time, scholars s... |
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