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Burial and legacy |
According to Vasari, Giotto was buried in the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he was buried in the Church of Santa Reparata. The apparently-contradictory reports are explained by the fact that the remains of Santa Reparata... |
During an excavation in the 1970s, bones were discovered beneath the paving of Santa Reparata at a spot close to the location given by Vasari but unmarked on either level. Forensic examination of the bones by anthropologist Francesco Mallegni and a team of experts in 2000 brought to light some evidence that seemed to c... |
Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way consistent with frequent... |
References |
Footnotes |
Citations |
Sources |
Eimerl, Sarel (1967). The World of Giotto: c. 1267–1337. et al. Time-Life Books. ISBN 0-900658-15-0. |
Previtali, G. Giotto e la sua bottega (1993) |
Vasari, Giorgio. Le vite de più eccellenti pittori, scultori e architetti (1568) |
———. Lives of the Artists, trans. George Bull, Penguin Classics (1965), ISBN 0-14-044164-6 |
White, John. Art and Architecture in Italy, 1250 to 1400, London, Penguin Books, 1966, 2nd edn 1987 (now Yale History of Art series). ISBN 0140561285 |
Further reading |
External links |
Page at Web Gallery of Art |
Giotto in Panopticon Virtual Art Gallery |
Giovanni Antonio Fasolo (1530–1572) was a late Renaissance Italian painter of the Venetian school, active in Vicenza and surroundings. |
A native of Mandello del Lario, he appears to have trained in the Venice studio of Paolo Veronese. By 1557, he was an independent fresco decorator. He worked at the frescoes of some buildings by Andrea Palladio, like Villa Caldogno (with Giovanni Battista Zelotti), Casa Cogollo, and Palazzo del Capitaniato (his last wo... |
One of his pupils was Alessandro Maganza. |
Works |
Partial listing: |
Frescoes in Palazzo Chiericati, Vicenza |
Frescoes in Villa Sesso Schiavo, Sandrigo (Vicenza) (attributed) |
Portrait of the Valmarana Family |
Portrait of Ippolito Porto, Palazzo Valmarana, Vicenza |
Baptism of Saint John (Battesimo di San Giovanni), Natività della Beata Vergine Maria, Tricase (Lecce) (attributed) |
Frescoes in Casa Cogollo, Vicenza (traces) |
Portrait of Giuseppe Gualdo with His Sons Paolo and Paolo Emilio (Ritratto di Giuseppe Gualdo con i figli Paolo e Paolo Emilio) and Portrait of Paola Bonanome Gualdo with Her Daughters Laura and Virginia (Ritratto di Paola Bonanome Gualdo con le figlie Laura e Virginia), 1566-1567, Pinacoteca civica di Palazzo Chierica... |
Frescoes in Palazzo Porto Colleoni, Thiene (Vicenza), 1570 (with Giovanni Battista Zelotti), sections included: Cleopatra's Banquet, The Continence of Scipio and Sophonisba Before Masinissa - Mucius Scaevola, |
Frescoes in Villa Caldogno, Caldogno (Vicenza), 1570 (with Giovanni Battista Zelotti), sections included: Invitation to Dance, Playing Cards |
Frescoes and nine others in Palazzo del Capitaniato (1572), Vicenza |
See also |
Giovanni Battista Zelotti |
Palladian Villas of the Veneto |
References |
Bibliography |
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500-1600. Penguin Books. p. 565. |
Giovanni Antonio Pellegrini (29 April 1675 – 2 or 5 November 1741) was one of the leading Venetian history painters of the early 18th century. His style melded the Renaissance style of Paolo Veronese with the Baroque of Pietro da Cortona and Luca Giordano. He travelled widely on commissions which brought him to Englan... |
Life |
Pellegrini was born in Venice. His father, also called Antonio, was a shoemaker from Padua. Pellegrini was a pupil of the Milanese painter Paolo Pagani. He travelled with his master to Moravia and Vienna in 1690 and was back in Venice in 1696 where he painted his first surviving works. The work of fellow Venetian Seb... |
Pellegrini visited England from 1708 to 1713 at the invitation of the Earl of Manchester. Here he achieved considerable success. He painted murals in a number of English country houses, including at Kimbolton Castle for the Earl of Manchester, Castle Howard (where his work was mostly destroyed by a fire in 1940), and... |
He became a director of Sir Godfrey Kneller's Academy in London in 1711. He submitted designs for decorating the interior dome of the new St Paul's Cathedral, and is said to have been Christopher Wren's favourite painter. He did not win the commission, losing out to Sir James Thornhill. |
Pellegrini subsequently travelled through Germany and the Netherlands, collecting Northern paintings as he went and completing works in many European cities. In 1713-4 he was in Düsseldorf, where he painted a series of allegorical scenes of the life of the elector, Johann Wilhelm. He decorated the Golden Room in the ... |
In about 1720 he painted the ceiling of John Law's Bank of France in Paris (since destroyed). |
Notes |
Sources |
Levey, Michael (1980). Painting in Eighteenth Century Venice (second ed.). Oxford: Phaidon. |
Further reading |
Edward Croft-Murray, Decorative Painting in England 1530-1837, 2 vols. London 1962, 1971. |
External links |
Media related to Giovanni Antonio Pellegrini at Wikimedia Commons |
Giovanni Baglione (Italian: [d͡ʒoˈvan.ni baʎˈʎoː.ne]; 1566 – 30 December 1643) was an Italian Late Mannerist and Early Baroque painter and art historian. Although a prolific painter, Baglione is best remembered for his encyclopedic collection of biographies of the other artists working in Rome during his lifetime, and ... |
Life |
He was born and died in Rome, but from his own account came from a noble family of Perugia. A pupil of the obscure Florentine artist working in Rome, Francesco Morelli (not to be confused with the later French-Italian engraver Francesco Morelli), he worked mainly in Rome, initially with a late-Mannerist style influence... |
He spent 1621–1622 in Mantua as the court artist of Duke Ferdinando Gonzaga, where the exposure to the fabulous Gonzaga collection of Venetian paintings influenced his style. Otherwise he remained in Rome, where he was long successful in attracting commissions from the Papal court and aristocracy. His paintings have be... |
He had a successful career, receiving a Papal knighthood in the Supreme Order of Christ (the highest of the Papal orders) in 1606, and his long involvement with Rome's Accademia di San Luca and his biographies reveal "an artist obsessed with status". He was a member of the Accademia from 1593 until his death, and thre... |
Writings |
He published two books, The nine churches of Rome (Le nove chiese di Roma 1639), and The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642 (Le Vite de' Pittori, scultori, architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. fino a' tempi de Papa Urbano VIII. nel 1642, 1642).... |
His biographies cover over two hundred artists in various media, all of whom had worked in Rome and were dead by the time he published. Relatively few other sources, other than contracts and the like, exist for most of these figures, and Baglione's work often remains the basis for their biographies, being drawn on exte... |
Litigation against Caravaggio |
Baglione's best known painting, Sacred Love and Profane Love (or The Divine Eros Defeats the Earthly Eros and other variants), was a direct response to Caravaggio's Amor Vincit Omnia (1601–02). Baglione's painting exists in two versions, the earlier in the Gemäldegalerie, Berlin (c. 1602–03) and the later in the Galle... |
In late August 1603 Baglione filed a suit for libel against Caravaggio, Orazio Gentileschi, Ottavio Leoni, and Filipo Trisegni in connection with some unflattering poems circulated around Rome over the preceding summer, which he appears to have been correct in attributing to Caravaggio's circle. Baglione had recently c... |
Paintings |
He was mainly a painter of religious subjects, reflecting the Roman market, but also painted several mythological subjects, including an "astonishing" Venus whipped by Love (1620s) with an unusually suggestive pose, accentuated by strong chiaroscuro, for the plump goddess, who is viewed foreshortened from behind as she... |
He was employed in many of the considerable numbers of church commissions in Rome during the pontificates of Clement VIII, Paul V and Urban VIII in the early years of the new century, from which the Caravaggisti were largely excluded. The two largest churches being filled with paintings at this period were St. Peter's ... |
Gallery |
See also |
Artists in biographies by Giovanni Baglione |
Sacred-profane dichotomy |
Notes |
References |
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Cavaliere Giovanni Baglioni". Catholic Encyclopedia. New York: Robert Appleton Company. |
Bryan, Michael (1886). Robert Edmund Graves (ed.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. I: A-K. London: George Bell and Sons. p. 68. |
"Dictionary", Giovanni Baglione at Dictionary of Art Historians.org |
Gemäldegalerie, Berlin, Prestel Museum Guide, 1998, Prestel Verlag, ISBN 3-7913-1912-4 |
O’Neil, Maryvelma, "Baglione, Giovanni" in Grove Art Online, Oxford Art Online. Oxford University Press, accessed 16 February 2013, subscriber only |
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