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References |
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books, Pelican History of Art. pp. 78–80, 82–83. |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Albani, Francesco". Encyclopædia Britannica. Vol. 1 (11th ed.). Cambridge University Press. p. 481. |
External links |
Media related to Francesco Albani at Wikimedia Commons |
Francesco Albani in the "History of Art" |
Francesco Albani Paintings Gallery Archived 2012-03-30 at the Wayback Machine (Public Domain Paintings - www.art.onilm.com) |
Two Italian painters, grandfather and grandson, are named Francesco Bassano: |
Francesco Bassano the Elder (c. 1475–1539), Italian painter |
Francesco Bassano the Younger (1549–1592), Italian painter |
Francesco del Cossa (c. 1430 – c. 1477) was an Italian Renaissance painter of the School of Ferrara, who after 1470 worked in Bologna. Cossa is best known for his frescoes, especially his collaboration with Cosimo Tura on a cycle of the months in the Palazzo Schifanoia of the Este family, rulers of Ferrara. Otherwise, his paintings are mostly of religious subjects, with some portraits and drawings attributed to him. He also designed stained glass. |
Biography |
The son of a stonemason in Ferrara, little is known about his early works, although it is known that he travelled outside of Ferrara in his late twenties or early thirties. |
One of the first records we have of him is in 1456 when he was an assistant to his father, Cristofano del Cossa, at that time employed in painting the carvings and statues on the high altar in the chapel of the bishop's palace at Ferrara. One of his followers was Leonardo Scaletti of Faenza. |
Allegorical frescoes in the Palazzo Schifanoia |
In conjunction with Cosimo Tura, Cossa is now known for fresco decoration of the summer pleasure villa/palazzo known as the Palazzo Schifanoia. Together, they painted a series of elaborate allegories around the themes of zodiac signs and months of the year. These were only partially restored in the 20th century, and there are three that are reasonably assigned to Cossa. Of these, one of the most remarkable images is the horde of naked toddlers in the Allegory of May – Triumph of Apollo. Apparently a sign of springtime's prolific blossoming, the crowded rows of babies mass like a phalanx of infantile Rockettes. |
The Allegory of April has a depiction of the trio of Graces, one of the earliest Post-classical representations of the naked intertwined dancers in painting. Sandro Botticelli's version in Primavera dates from 1482. See the 1501 version of the Three Graces (now at Chantilly). Assuming the date of death of Cossa is correct, this one must have been completed prior to the others. |
Cossa in Bologna |
Unhappy that he had been paid by the square foot for his work for Duke Borso and complaining he was being paid the same as the "worst dauber in Ferrara", Cossa left Ferrara for Bologna in 1470. |
In Bologna, he obtained many commissions under the patronage of the Bentivoglio family. Here he painted his two masterpieces: the Virgin and Child with two saints and a portrait of Alberto de' Catanei (1474) and fresco of the Madonna del Baracano, representing the Virgin and Child with portraits of Giovanni Bentivoglio and Maria Vinziguerra (1472). |
He executed stained glass windows in Bologna, the best of which is a circular window, in the church of San Giovanni in Monte, representing St. John in Patmos. This bears his signature. |
In the National Gallery of London, there is a picture by him representing St. Vincent Ferrer. There is a fine profile portrait at Locko Park near Derby, said to represent Duke Ercole I of Ferrara. In the Dresden collection there is also an Annunciation. |
Anthology of works |
Annunciation and Nativity (1470–1472 Dresden Gemäldegallerie alte Meister) |
St Claire (1470-1472, Thyssen-Bornemisza Museum, on deposit at the Museo Nacional de Arte de Cataluña) |
St Catherine (1470-1472, Thyssen-Bornemisza Museum, on deposit at the Museo Nacional de Arte de Cataluña) |
Griffoni Polyptych |
St Vincent Ferrer (1473, National Gallery, London) |
St Peter (1473, Pinacoteca di Brera, Milan) |
St John the Baptist (1473, Pinacoteca di Brera, Milan) |
St Florian 1473,National Gallery of Art, Washington) |
St Lucy (1473, National Gallery of Art, Washington) |
The Crucifixion (1473, National Gallery of Art, Washington) |
St Petronius (1473, Palazzo dei Diamanti, Ferrara) |
11 other small pictures from altarpiece (1473, ?, ?) |
Madonna with the Child and Saints (1474, Pinacoteca Nazionale, Bologna) |
Virgin and Child with an Angel (1460, Museu Nacional d'Art de Catalunya, Barcelona) |
Frescoes for Hall of Months, Palazzo Schifanoia, Ferrara (before 1470?) |
Allegory of April: Triumph of Venus |
Allegory of May: Triumph of Apollo |
Allegory of March: Triumph of Minerva |
Polyhymnia, the Muse of Many Songs |
Portrait of a Man with a ring (1472-1477, Thyssen-Bornemisza Museum, Madrid) |
In contemporary culture |
The stained glass window was revealed to be the final answer of the Great Google Earth Treasure Hunt. |
Del Cossa features as one of the two protagonists in Ali Smith's novel How to Be Both, short-listed for the 2014 Man Booker Prize. |
References |
Encyclopedia of Artists, volume 2, edited by William H. T. Vaughan, ISBN 0-19-521572-9, 2000 |
External links |
Web Gallery of Art |
[1] |
Francesco Fontebasso (4 October 1707 – 31 May 1769) was an Italian painter of the late-Baroque or Rococo period of Venice. He first apprenticed with Sebastiano Ricci, but was strongly influenced by his contemporary, Giovanni Battista Tiepolo. In 1761, Fontebasso visited Saint Petersburg and produced ceiling paintings and decorations for the Winter Palace. Fontebasso returned to Venice in 1768. He helped decorate a chapel in San Francesco della Vigna. |
He died in Venice in 1769. He is represented in collections in e.g. Kadriorg Palace (part of the Art Museum of Estonia) in Tallinn, Estonia. |
The Prado Museum in Spain owns a painting The Bridegroom and the foolish Virgins along with 9 drawings. |
References |
Sources |
Getty biography (archived 20 September 2006) |
Francesco Francia, whose real name was Francesco Raibolini (1447 – 5 January 1517) was an Italian painter, goldsmith, and medallist from Bologna, who was also director of the city mint. |
He may have trained with Marco Zoppo and was first mentioned as a painter in 1486. His earliest known work is the Felicini Madonna, which is signed and dated 1494. He worked in partnership with Lorenzo Costa, and was influenced by Ercole de' Roberti's and Costa's style. After 1505 he was influenced more by Perugino and Raphael. He had a large workshop and trained Marcantonio Raimondi, Ludovico Marmitta, and several other artists; he produced niellos, in which Raimondi first learnt to engrave, soon excelling his master, according to Vasari. Raphael's Santa Cecilia is supposed to have produced such a feeling of inferiority in Francia that it caused him to die of depression. However, as his friendship with Raphael is now well-known, this story has been discredited. |
He died in Bologna. His sons Giacomo Francia and Giulio Francia were also artists. |
Works (selection of paintings) |
Until 1500 |
Crucifixion with St. John and St. Jerome, c. 1485, 52 cm x 33 cm, oil on wood, Palazzo d'Accursio, Bologna |
The Holy Family, c. 1485, 54 cm x 40 cm, oil on wood, Gemäldegalerie, Berlin |
The Virgin and Child with an Angel, c. 1490, 58 cm x 44 cm, oil on wood, Carnegie Museum of Art, Pittsburgh |
Bartolomeo Bianchini, c. 1485–1500, 57 cm x 41 cm, oil on wood, National Gallery, London |
Baptism of Jesus, c. 1490, 29 cm x 55 cm, oil on wood, Calouste Gulbenkian Museum, Lisbon |
Madonna and Child with two Angels, c. 1495, 64 cm x 49 cm, oil on wood, Alte Pinakothek, Munich |
Pala Calcina, 1500, 193 cm x 151 cm, tempera and oil on canvas (formerly wood), Hermitage Museum, Saint Petersburg |
Years 1500-10 |
Madonna and Child, c. 1500, 67 cm x 52 cm, oil on wood, Wallington National Trust, Northumberland |
Madonna and Child with Saints Francis and Jerome, 1500–10, 75 cm x 57 cm, tempera on wood, Metropolitan Museum of Art, New York |
The Annunciation with St. Albert the Carmelite, c. 1503–04, 182 cm x 132 cm, oil on canvas (formerly wood), Musée Condé, Chantilly |
Adoration of the Child, 1500–05, 175 cm x 132 cm, oil on wood, Alte Pinakothek, Munich |
Evangelista Scappi, 1500–05, 55 cm x 44 cm, oil on wood, Uffizi, Florence |
Bishop Altobello Averoldo, c. 1505, 54 cm x 41 cm, oil on wood, National Gallery of Art, Washington |
Crucifixion, c. 1505, 246 cm x 146 cm, oil on wood, San Giacomo Maggiore, Bologna |
The life of Saint Cecilia and her husband Valerian - scene 1 (The Marriage) & 10 (The Burial), 1504–1506, 360 cm x 290 cm, frescoes, Oratorio di Santa Cecilia, Bologna |
Venus and Cupid, 1505–10, 80 cm x 49 cm, oil on wood, Musée des Beaux-Arts de Mulhouse |
Baptism of Jesus, 1509, 209 cm x 169 cm, oil on wood, Gemäldegalerie Alte Meister, Dresden |
After 1510 |
The Holy Family, c. 1510, 64 cm x 49 cm, oil on wood, Museum of Fine Arts, Budapest |
Federico Gonzaga (son of Isabella d'Este), 1510, 45 cm x 34 cm, oil on wood transferred to canvas and finally again on wood, Metropolitan Museum of Art, New York |
Portrait likely Isabella d'Este, 1511, 44 cm x 35 cm, oil on wood, Vienna |
Pala Buonvisi, 1510–12, 195 cm x 180 cm, oil on wood, National Gallery, London |
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