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He was born in Florence, and initially worked under Albertinelli until about 1506. In 1505 he befriended Andrea del Sarto; and by the next year, the two painters set up common shop in the Piazza del Grano. Franciabigio paid much attention to anatomy and perspective, and to the proportions of his figures, though these are often squat in form. He had a large stock of artistic knowledge, and was at first noted for diligence. He was proficient in fresco and Vasari claimed that he surpassed all his contemporaries in this method. It is in his portraits, and not his religious paintings and frescoes, that his painting gathers naturalistic power. |
As years went on, and he received frequent commissions for all sorts of public painting for festive occasions, his diligence seemed to wane. |
In 1513, in the cloister of the Annunziata he frescoed the Marriage of the Virgin, part of a larger series mainly directed by Andrea del Sarto, and overshadowed by the latter's masterpiece of Birth of the Virgin. Other artists working under Sarto at the cloister included Rosso Fiorentino, Pontormo, Francesco Indaco, and Baccio Bandinelli. |
In 1514, he frescoed a Mantegnesque Last Supper for the Convento della Calza in Florence. In 1518-19, at the Convento della Salzo, in another series of frescoes on which Andrea was likewise employed, he executed the Departure of John the Baptist for the Desert, and the Meeting of the Baptist with Jesus. |
In 1520–21, at the villa Medici at Poggio a Caiano he frescoed a turgid Triumph of Cicero on the walls of the salon, but again he is overshadowed by Potormo's naturalistic lunette of Vertumnus and Pomona. The array of figures appears distraught rather than celebratory, the antique details are a melange of quotations, and the architect a fancy of Quattrocento style. He painted a St Job altarpiece (1516, Uffizi). |
In the early 1520s, Franciabigio also painted Madonna and Christ Child, a composition that highlights Raphael Sanzio's influence. Scholars note this painting's significance in illustrating naturalism. |
Various works which have been ascribed to Raphael are reasonably deemed to be by Franciabigio. Such as the Madonna del Pozzo, with its awkwardly muscular John the Baptist; and some of his portraits, including the half figure of a Young Man. These two works show a close analogy in style to another in the Pitti gallery, avowedly by Franciabigio, a Youth at a Window, and to some others—which bear this painter's recognized monogram. |
For a number of years, Franciabigio maintained the studio with Andrea. Together with Andrea’s student, Jacopo da Pontormo, they decorated the Medici villa at Poggio a Caiano, where Franciabigio’s Triumph of Caesar displays his talent for narrative painting. Andrea’s influence on Franciabigio may be seen in the dark, smoky background and the soft, dramatic lighting of the St. Job Altar (1516). |
The series of portraits, taken collectively, placed beyond dispute the eminent and idiosyncratic genius of the master. Two other works of his, of some celebrity, are the Calumny of Apelles, in the Pitti Palace, and the Bath of Bathsheba (painted in 1523), in the Dresden gallery. |
Critical assessment and legacy |
When compared to his younger contemporary colleague, del Sarto, Franciabigio appears more sculptural and less forward-looking. The Quattrocento monumentality (or stiffness) of posing is evident in his figures. Franciabigio attends more to linearity and balance in fresco recalling Massacio, while Sarto's paintings reflect an understanding that characterizes Venetian work, and the development of sway that will "mannerize" art in the decades to come. |
Franciabigio's portraits |
Franciabigio's madonnas |
Footnotes |
References |
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500-1600. Penguin Books. pp. 96–97. |
McKillop, Susan Regan (1974). Franciabigio. University of California Press. |
Attribution: |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Franciabigio". Encyclopædia Britannica. Vol. 10 (11th ed.). Cambridge University Press. p. 933. |
External links |
Media related to Franciabigio at Wikimedia Commons |
Francis Danby (16 November 1793 – 9 February 1861) was an Irish painter of the Romantic era. His imaginative, dramatic landscapes were comparable to those of John Martin. Danby initially developed his imaginative style while he was the central figure in a group of artists who have come to be known as the Bristol School. His period of greatest success was in London in the 1820s. |
Early life |
Born in the south-east of Ireland, he was one of a set of twins; his father, James Danby, farmed a small property he owned near Wexford, but his death, in 1807, caused the family to move to Dublin, while Francis was still a schoolboy. He began to practice drawing at the Royal Dublin Society's schools; and under an erratic young artist named James Arthur O'Connor he began painting landscapes. Danby also made acquaintance with George Petrie. |
In 1813 Danby left for London together with O'Connor and Petrie. This expedition, undertaken with very inadequate funds, quickly came to an end, and they had to get home again by walking. At Bristol they made a pause, and Danby, finding he could get trifling sums for watercolours, remained there working diligently and sending to the London exhibitions pictures of importance. There his large oil paintings quickly attracted attention. |
Bristol School |
From around 1818/19, Danby was a member of the informal group of artists which has become known as the Bristol School, taking part in their evening sketching meetings and sketching excursions visiting local scenery. His View of the Avon Gorge (1822) depicts figures sketching in a location favoured by the group. He remained connected with members of the Bristol School for around a decade, even after leaving Bristol in 1824. |
The group had initially formed around Edward Bird, and Danby would eventually succeed Bird as its central figure. Bird's genre painting had a naturalistic style and fresh colours, and his influence has been seen on Danby's style. Examples are Danby's treatment of figures in Boys Sailing a Little Boat (c. 1821) and The Delivery of Israel out of Egypt (1825). Danby was also close to Edward Villiers Rippingille, whose style developed alongside that of Danby under the influence of Bird. |
The Bristol artists, particularly the amateur Francis Gold, were also important in influencing Danby towards a more imaginative and poetical style. George Cumberland, another of the amateurs, had influential London connections. In 1820 when Francis Danby exhibited The Upas Tree of Java at the British Institution, Cumberland used his influence to promote its favourable reception. There is also evidence from their correspondence that Cumberland suggested subjects for Danby to paint. Cumberland was a close friend of William Blake, and it has been suggested that Blake's work may also have had some influence on Danby, for example in Danby's second exhibited painting, Disappointed Love, shown at the Royal Academy in 1821. |
Danby's atmospheric work An Enchanted Island, successfully exhibited in 1825 at the British Institution and then back in Bristol at the Bristol Institution, was in turn particularly influential on other Bristol School artists. Letitia Elizabeth Landon included a poem on this work in Poetical Sketches of Modern Pictures, part of her collection, The Troubadour (1825). |
Success |
The Upas Tree (1820) and The Delivery of Israel (1825) brought him his election as an Associate Member of the Royal Academy. He left Bristol for London, and in 1828 exhibited his Opening of the Sixth Seal at the British Institution, receiving from that body a prize of 200 guineas; and this picture was followed by two others on the theme of the Apocalypse. |
Danby painted "vast illusionist canvases" comparable to those of John Martin – of "grand, gloomy and fantastic subjects which chimed exactly with the Byronic taste of the 1820s." |
Later years |
Danby was sculpted by Christopher Moore in 1828. |
In 1829 Danby's wife deserted him, running off with the painter Paul Falconer Poole. Danby left London, declaring that he would never live there again, and that the Academy, instead of aiding him, had, somehow or other, used him badly. For a decade he lived on the Lake of Geneva in Switzerland, becoming a bohemian with boat-building fancies, painting only now and then. He later moved to Paris for a short period of time. |
He returned to England in 1840, when his sons, James and Thomas, both artists, were growing up. Danby exhibited his large (15 feet wide) and powerful The Deluge that year; the success of that painting, "the largest and most dramatic of all his Martinesque visions," revitalised his reputation and career. Other pictures by him were The Golden Age (c. 1827, exhibited 1831), Rich and Rare Were the Gems She Wore (1837), and The Evening Gun (1848). |
Some of Danby's later paintings, like The Woodnymph's Hymn to the Rising Sun (1845), tended toward a calmer, more restrained, more cheerful manner than those in his earlier style; but he returned to his early mode for The Shipwreck (1859). He lived his final years at Exmouth in Devon, where he died in 1861. Along with John Martin and J. M. W. Turner, Danby is considered among the leading British artists of the Romantic period. |
Both of Danby's sons were landscape painters. The elder, James Francis Danby (1816–75), exhibited at the Royal Academy. "He excelled in depicting sunrise and sunset." The younger, Thomas Danby (1817–86), specialised in watercolours of Welsh scenes. In 1866, the latter was nominated as an Associate of the Royal Academy, but missed election by one vote. |
See also |
Royal West of England Academy |
References |
External links |
42 artworks by or after Francis Danby at the Art UK site |
Bristol City Museum and Art Gallery |
Phryne's list of pictures in accessible collections in the UK |
Garnett, Richard (1888). "Danby, Francis" . Dictionary of National Biography. Vol. 14. |
Profile on Royal Academy of Arts Collections |
Painting of Ancient Garden. engraved by W. Hill for The Literary Souvenir, 1835 with a poetical illustration (The Grecian Garden) by Letitia Elizabeth Landon. |
Francisco Pérez Sierra (c. 1627 in Naples – 1709) was a Neapolitan painter of Spanish origin. According to Antonio Palomino, he was the son of a Spanish general. He was a disciple of Aniello Falcone and Juan de Toledo. Numerous works that he painted included the Immaculate Conception, painted in 1655 in the convent of the Trinitarias de Madrid, Santa Ana conduciendo a la Virgen which is now at the Museo del Prado and Saint Joachim which is now at the Museo de Bellas Artes de Granada, he also painted Vase of Flowers in around 1690 (oil on panel, 62x43 cm) which is now at the Royal Palace in Madrid. |
References |
Antonio Palomino, An account of the lives and works of the most eminent Spanish painters, sculptors and architects, 1724, first English translation, 1739, p. 162 |
Palomino, Antonio (1988). El museo pictórico y escala óptica III. El parnaso español pintoresco laureado. Madrid, Aguilar S.A. de Ediciones, p. 545. ISBN 84-03-88005-7. |
Pérez Sánchez, Alfonso E. (1992). Baroque Paintings in Spain, 1600-1750. Madrid, Cátedra. ISBN 84-376-0994-1. |
External links |
Biography at the Museo del Prado Online Encyclopedia (in Spanish) |
Francisque Millet (27 April 1642, in Antwerp – 3 June 1679, in Paris), also known as Jean-François Milée or Millet I, was a Flemish-French landscape painter of the Baroque era. |
Biography |
According to Houbraken, Millet was the son of a French ivory worker from Dijon, who had been tempted to move to Brabant as a result of the patronage of Louis II de Bourbon, Prince de Condé. Since he found a market for ivory work in Antwerp, he stayed there and when later his son showed a talent for drawing, he apprenticed him to Laurentius Frank, a cousin of Abraham Genoels. This Genoels wrote Houbraken that he met Millet as a boy of 17 in 1659 in Paris (Houbraken mentions that he is aware that this shows a discrepancy with Millet's recorded birth date in Antwerp by two years) where he was working with his cousin. Genoels claimed that the young Millet had a remarkable memory for detail, and could make copies of any artwork quickly and accurately without needing to turn his head towards the subject. He could thus make copies of paintings with ease. At the age of eighteen, he married his master's daughter. He specialized in Italianate landscapes with figures in the manner of Pousyn (Houbraken means the landscape painter Gaspard Dughet, Nicolas Poussin's brother-in-law). Though he enjoyed success on his travels through France, England, and Holland, he tended to spend more than he earned, a practise which Houbraken disapproved of. He suffered from a sudden high fever which caused him to go insane and died shortly thereafter at the age of 36. He was buried in the St Nicolas-des-Champs church in Paris. |
Family |
His son, also named Jean François Millet (1666–1723), and also called Francisque, was born in Paris, and was made a member of the Academy of Painting in 1709. He consulted Watteau and other followers of the fête galante school when he wanted figures for his landscapes. The museum of Grenoble has a "Paysage" by him which is adorned with Watteau's figures. |
Legacy |
Though Houbraken claimed that Millet had two sons who both became painters, the Dutch RKD only shows him influencing the painter Jean-François Millet (II) and Jean Coustel. |
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