Born in Bologna, Albani, along with Reni, trained under Calvaert and at the Carracci Academy, and, together they moved to Rome in 1601/2. He was influenced be Domenichino as well, and it is possible that all three worked on the paintings in the Oratory of Saint Columbano in Bologna. Some sources indicate that Reni parted with Albani after arrival in Rome; others report Albani, Reni, and Domenichino working on a group of small landscapes designed by Annibale Carracci and featuring sacred subjects. Those landscapes are still located in Rome. After the death of Carracci in 1609, Albani worked in both Rome and Bologna. In 1625, he permanently returning to Bologna to establish his successful studio. Albani created church altarpieces, but he is most recognized for his landscapes with allegorical mythological figures. These works, including "The Four Elements" (1620-8) were especially admired in England.
$#ALLORI DEL BRONZINO,ALESSANDRO
##Alessandro del Bronzio Allori 1535-1607
Alessandro Allori was born in Florence. Orphaned at five, he went to live with his uncle, Agnolo Allori, better known as Bronzio. After training by his uncle, Allori's next mentors and major influences were Giorgio Vasari and Michelangelo. In 1560, the Medici family became patrons back in Florence where he painted portraits, frescos, religious works, and, designed tapestries. "Bianca Cappello", "Sacrifice of Isaac", and scenes from Homer's "Odyssey" are some of his better known works. Allori was also a writer of note with his "Treatise on the Art of Drawing Figures". He died in Florence.
$#ALLORI,CRISTOFANO
##Cristofano Allori 1577-1621
Cristofano Allori was born in Florence, the son of Alessandro and great- nephew of Bronzino Best known for portraits and his religious paintings, C. Allori was substantially influenced by Caravaggio. His much copied portrait of his mistress, "Judith with the Head of Holofernes", was completed in 1613 and is considered his greatest work. C. Allori painted in the Italian Mannerist style, and was very skilled at representation of elegant materials.
$#AMIGONI OR AMICONI,JACOPO
##Jacopo Amigoni 1605-1752
Jacopo Amigoni was born in Naples. He studied in Venice, where he was greatly influenced by Sebastiano Ricci. Amigoni worked in many different parts of Europe, including Rome, London, Flanders, Bavaria, Madrid and Venice. Unfortunately, many of Amigoni's works were destroyed. However, most of his best works, done between the years of 1730 and 1739 in London, survived, including "The Story of Jupiter and Io", now located at Moor Park, Hertfordshire, and an allegorical portrait of Queen Caroline in Darmstadt, London.. In 1739, Amigoni became court painter to Ferdinand VI in Madrid. Amigoni portrays the light and most colorful side of Venetian painting during the early 1700's.
$#ANSELMI,MICHELANGELO
##Michelangelo Anselmi 1492-1554
Michelangelo Anselmi was born, in either Tuscany or Siena, to a Parmesan family. At the approximate age of twenty-eight, Anselmi took up permanent residence in Parma. Early influences were Correggio and the Sienese Mannerists, Sodoma and Beccafumi. Later, Anselmi was influenced by Parmigianino, as is evident in his work "The Baptism of Christ", painted about 1530. It is currently located at the San Prospero church in Reggio Emilio. Anselmi was given the honor of painting the frescos in the Church of the Steccata after Parmigianino failed to complete them.
$#ARCIMBOLDO,GIUSEPPE
##Giuseppe Arcimboldo 1530-1593 ca.
Born in Milan, Arcimboldo is best known for his paintings in which various items (flowers, fruit, vegetables) are arranged in the shape of heads. In the beginning of his career, Arcimboldo worked on the cathedral at Milan doing various tasks including repainting the facade. From 1562 until 1587, he worked in Vienna and Prague and was employed by several emperors. Both a costume designer and a painter, Arcimboldo completed a series of 150 ink drawings, dedicated to Rudolph II, for a winter tournament. These drawings are currently housed in Florence's Uffizi museum. Arcimboldo also painted portraits of various members of the royal family and servants, including "The Librarian" and "The Portrait of Rudolph II in the Guise of Vertumnus"; the later is now located in a private collection in Sweden.
$#ASPERTINI, AMICO
##Amico Aspertini 1475-1552 ca.
Amico Aspertini was born in Bologna. He was trained by Francia. As as Italian Mannerist, Aspertini often included personal touches which identified his work. His sketch books, now located at the British Museum in London, include drawings of various classical buildings in Rome done during his stay in Rome, 1500 to 1503. His works include the frescos done for the Church of San Frediano in Lucca, 1507 to 1509.
$#BACICCIA,GIOVANNI BATTISTA (IL GAULLI)
##Giovanni Battista Gauli Baciccia 1639-1709
Born in Genoa, Baciccia's family was killed by the plague in 1657. His early training was the study of del Vaga's, Barocci's and Ruben's work. At age eighteen, Baciccia moved to Rome, where he studied under Bernini and was also influenced by Raphael and Cortona. He painted seven Popes during his career including "Pope Clement IX" (1667), now located in the Galleria Nazionale in Rome. Baciccia is considered to be a fine Baroque artist, His study of Correggio in Parma (1669) led to a higher degree of illusion in his paintings and made his works more colorful and sentimental. His masterpiece fresco, "Adoration in the Name of Jesus" (1674--1679) was painted on a ceiling in the Gesu in Rome. His technique of putting painted figures into painted and modelled figures of stucco was unique. Some of the models for this work are now in Cincinnati, Ohio and at the Palace Spada in Rome. Other works of note are: "St. John the Baptist Preaching", "Christian Virtues", and "The Death of St. Francis Xavier".
$#BAROCCI OR BAROCCIO,FEDERIGO (FIORI DA URBINO)
##Federico Barocci 1526-1612
Born in Urbino, Federico Barocci is considered one of the most original Italian Mannerists in the later part of the sixteenth century. He studied briefly in Rome, but then returned to his hometown where he spent most of his life. Barocci's work and shows command of color and sensitivity. It is thought that Michelangelo supported Barocci while he was in Rome. Although Barocci lived to old age, he was troubled by bad health and only worked for two hours each day. His primary works were altarpieces such as "Rest on the Flight into Egypt" (1573, the Vatican Museum in Rome). Barocci was one of the first painters of the Baroque period. His "Martyrdom of St. Vitalis" (1580-83) and "Circumcision" (1590) show his talent and creativity in the use of space. He made multiple drawings prior to painting, and many of these drawings have survived. $#BASCHENIS,EVARISTO
##Evaristo Baschenis 1617-1677
Evaristo Baschenis was born in Bergamo. He worked first with his father, and is thought to have been well-acquainted with Cremonese art. When about thirty Baschenis entered the priesthood. His work included a few religious paintings and a battle scene done in Jacques Courtois' style, but Baschenis is best known for still life paintings, especially of musical instruments. In that genre, he had no equal. He also painted some kitchen scenes and was extremely adept at painting ribbons in a very realistic manner. He is thought to have been influenced by Caravaggio, and to have been a precursor to Cezanne. Bashenis exercized strict attention to detail, and his work is characterized by simplicity, geometry and beautiful lighting. The bulk of his work is now located at the Accademia Carrara in Bergamo. Baschenis died there in 1677.
$#BASSANO,LEANDRO DA PONTE
##Leandro da Ponte Bassano 1557-1622
Leandro Bassano was one of Jacopo Bassano's sons. Leandro received his early training from his father and from his elder brother, Francesco. When Francesco committed suicide shortly after his father's death, Leandro took over the studio and continued in his father's style, although his own specialty was portraits. Leandro was influenced by Tintoretto. The Bassano family contributed greatly toward the popularization of luminism in the art of painting.
$#BECCAFUMI,DOMENICO (MECARINO OR MECUCCIO)
##Domenico di Pace Beccafumi 1486-1551
Domenico Beccafumi, most often called Domenico, was born to a peasant family in Arbia near Siena. As a young man, he tended sheep. Eventually, Lorenzo Beccafumi, his father's employer, took the lad under his tutelage by adopting him and having him educated. As a result of his use of perspective, emotion, and lighting Domenico has been called, and should be considered a non-Florentine Mannerist, but in his use of graphic and dramatic color, he has been considered one of the last of the Sienese School of painters. The major influences on Domenico were Michelangelo, Raphael, Fra Bartolomeo and Sodoma. Domenico traveled to Rome, Pisa and Genoa during his lifetime, but always returned to his home in Arbia. He, in fact, even opened a workshop there. Some of Domenico's major works are "St. Catherine Receiving the Stigmate" (1513, the Pinacoteca in Siena), the "Worship of the Golden Calf (1538-39, the Cathedral in Pisa), and the "Christ in Limbo" (1544).
$#BENCOVICH, FEDERICO (FERIGHETTO OR IL DALMATINO)
##Federico Bencovich 1670-1740 fl.
Federico Bencovich is believed to have been born in Venice. Bencovich received his training under Carlo Cignani in Bologna. Even though Bencovich lived in Venice most of his life, his work was better appreciated in central Europe. In 1735, Bencovich received the honor of becoming the court painter to the Prince-Bishop of Bamberg. Although Tintoretto had some influence on Bencovich, the latter's work was very agitated and exaggerated when compared to the other painters of the period who were also influenced by Tintoretto.
$#BONIFAZIO,VERONESE (DI PITATI)
##Veronese Bonifazio de Pitati 1487-1553
Veronese Bonifazio was born in Verona. He studied with Palma Vecchio in Venice where he later ran his own studio workshop. Because of this experience, he is considered to have been a member of the Venetian, rather than the Veronese, community of artists. Bonifazio was greatly influenced by the works of Giorgione and Titian. His paintings are High Venetian Renaissance featuring elegantly dressed figures in rich architectural settings opening out to sumptuous landscapes. "The Judgment of Solomon" (1533, at the Accademia in Venice is typical of Bonifazio's style.
$#BORDONE,PARIS
##Paris Paschalinus Bordone 1500-1571
Paris Bordone was born in Treviso. Excepting visits to Augsbury and France He lived in Venice for most of his life, . Bordone was one of Titian's students, but did not get along well with Titian, preferring to model himself after Giorgione. Bordone worked with a firmer hand than Titian and was best known for his Giorgionesque scenes, however his painting, "Fisherman Giving the Ring to the Doge" (1535, the Accademia in Venice), is both one of his finer works and is rather different in its treatment. Bordone also did some portraits and allegorical works.
$#BORGOGNONE,AMBROGIO STEFANI DA FOSSANO
##Ambrogio Stefan Borgonone 1480-1523 op.
Ambrogio Borgonone (also spelled Bergognone) was a Milanese painter. He was influenced by Vincenzo Foppa. Borgonone did some frescoes which are now located in the Certosa at Pavia, Italy. Borgonone painted mostly religious subjects, including one charming painting which shows monks looking through windows. Some of Borgognone's paintings can be seen in at the National Gallery in London; others are located in Birmingham, Bergamo and at the Brera in Milan.
$#BORROMINI,PAOLO FRANCESCO
##Francesco Castelli Borromini 1599-1667
Francesco Borromini was born in Bissone, near Lugano. He is considered to be the most innovative architect practicing during the High Baroque period in Rome. He began as a stonecutter and ornamentalist in Milan. He moved to Rome trained under Carlo Maderno, his foster brother. Borromini and Bernini worked together on the Palazzo Barberini project in Rome until 1633. This project was the beginning of a lasting competition between the two artists. After Borromini started working independently, his first work was the San Carlo alle Quattro Fontane church and cloister. That project showed Borromini's special talents. Thirty years later, Borromini finished his career by designing facades for that building, and for the convent next door. Borromini's projects also included the Oratory (1637-40) and the Library of San Filippo Neri (1642-3 next to the Santa Maria in Vallicella). The Church of San Ivo della Sapienza (completed 1642--1650) designed with a star hexagon scheme and featured a spiral dome, is a fine example of Barromini's talent and is considered his finest work. Borromini received the favor of Pope Innocent X for a brief time and was commissioned to design the facade for Carlo and Girolamo Rainaldi's partially completed Santa Agnese (1662--1666, at the Piazza Navona in Agone). Boromini was also responsible for the external decorations for the cupola at Santa Andrea della Fratte, the plan for its bell tower and the San Carlino facade mentioned above. His last great work was the palace of the Collegio di Propaganda Fide (1662-1666). Unfortunately, his career ended by suicide following illness in 1667. Borromini's contributions to the field of architecture include elegant solutions to structural problems, decorative detail, multiple cantilevers, optical illusions and indirect lighting. Borromini decorated his buildings with cheerful cherubim and seraphim with soaring wings. His apparitions glowed with peace and happiness, and his ingenuity resulted in buildings uniquely his own.
$#CANALETTO,ANTONIO CANALE (CALLED)
Antonio Canale Canaletto 1697-1768
Born in Venice as the son of a theatrical designer, Giovanni began his career working with his father. At the age of twenty-two, Canaletto moved to Rome where he stayed for the next eleven years (until 1730). He studied under Panini, and rapidly gained a reputation as an excellent painter of city views. Canaletto earned excellent income doing these scenes, which were fashionable for tourists to buy as souvenirs of their visits. In 1720, he became a member of the painter's guild in Venice; through this association he found many patrons for his work. His earliest known work is"Architectural Capriccio" (1723). In 1736, the English consul Joseph Smith became a patron of Canaletto; and was probably responsible for Canaletto's three journeys to England. The Venetian Academy accorded Canaletto the honor of president in 1763. Canaletto painted his city views with strong contrasts of dark and light, and from nature, rather than from drawings as was the custom. A camera obscura was of help to him in his painting. The British Royal Collection has an extensive library of Canaletto's drawings and paintings. Later in his life, Canaletto became somewhat mechanical in his renderings of cities, however, many of his pictures still had excellent quality. His later works were often imitated by English painters such as Marlow and Scott.
$#CARLEVARIS,LUCA LUCE DA CA'ZENOBIS
##Luca Antonio Carlevaris 1665-1731
Luca Carlevaris was born in Undine. At six years of age, he lost both parents. At sixteen, he was taken to Venice where he lived until his death in 1665. In Venice, the Zenobio family became Carlevaris' patrons. In appreciation, he he signed his work under the name of "Luca da Ca'Zenobio". His specialty was "vedutes" (city views), primarily those of Venice. In 1703, one hundred and three of Carlevaris' vedute etchings were published. Carlevaris was also supported by English patrons, most likely because of his large painting "Lord Manchester's Embassy to Venice" (1707). While many other artists painted vedutes, Carlevaris was the first to take a methodical approach to these scenes. His work was to become a great influence on Canaletto.
$#CARRACCI,AGOSTINO
##Agostino Carracci 1557-1602
Agostino Carracci was born in Bologna. He came from a family of painters which included his brother Annibale and his cousin Ludovico. Agostino's most widely acclaimed work was the "Communion of St. Jerome" (1590s). In that painting, he illustrated the ideals of classicism which were admired by the Accademia degli Incamminati. Although he went to Rome to help his brother with the decoration of the Galleria in the Palazzo Farnese, the brothers had disagreements, and Agostino did not stay to finish that work. He then went to Parma at the request of the Farnese family. His career was shortened by his early death. Agostino's importance was in his ability as teacher and engraver. As part of his training, he did exhaustive studies of the human body; these studies were used for the next two centuries. All three Carraccis were superb draftsmen; more than 500 of their drawings are in the Royal Collection at Windsor Palace.
$#CARRACCI,ANNIBALE
##Annibale Carracci 1560-1609
Annibale Carracci was born in Bologna to a famous family of Italian painters. Annibale was one of Ludovico's students and is considered to be the most famous of the family. It is believed that Annibale travelled to Tuscany in about 1583-4 and to Venice in 1585-6. Lodovico and Agostino attended the Academy in Venice with Annibale. The three of them collaborated on the decoration of the Fava (1584) and Magnani (1588-91) Palaces in Venice. In 1585, when Annibale toured Parma, he was influenced by the work of Correggio. Annibale demonstrated a firm committment to Mannerism rooted in Classicism, while Caravaggio was at this time turning from Mannerism toward Naturalism. Annibale invented the art of caricature, and he helped lay the foundation for the Baroque period in painting. He created remarkable landscapes, which later influenced Claude and Poussin. The Farnese Gallery, opened by the Carraccis was also a teaching gallery and a lasting model for historical painters. Annibale made many contributions to the world of art: "The Story of Hercules" (1595-97), "The Charity of St. Roch" (1595), and "The Butcher's Shop" (c.1582) are but a few of his paintings.
$#CARRIERA,ROSALBA
##Rosalba Giovanna Carriera 1675-1757
Rosalba Carriera was born in Venice. Her introduction to painting came from Jean Steve, a painter of miniatures on snuffboxes. The earliest portrait by Carriera is dated about 1700. Carriera is considered to be the foremost Venetian portrait painter of the 18th century. By 1705, Carriera had already become a member of the Accademia di San Luca in Rome; this title was reserved for non-Roman members. Commissions came to Carriera from such wealthy European patrons as Augustus III of Saxony, Maximilian II of Bavaria, and the Elector Palatine. Her studio in Venice was always busy with Europeans who admired her work. Carriera used pastels almost exclusively. In 1723, Carriera returned to Venice. She went blind in 1743, and was insane at her death 1757. One hundred and fifty-seven of Carriera's pastels are in Dresden, and there are other of her works in the Royal Collection in London.
$#CASTIGLIONE,GIOVANNI BENEDETTO (IL GRECHETTO)
##Giovanni Benede Castiglione 1616-1670
Giovanni Castiglione was born in Genoa. He was highly influenced by Reubens, van Dyck, Poussin and Bernardo Strozzi. Castiglione first moved to Rome about 1634 and remained there until 1650. He visited Naples and Genoa from time to time. For twenty-two years (1639--1661), Castiglione served Charles II of Nevers, the Duke of Mantua. Castiglione was the inventor of the monotype and is known for his partiality to thin coats of oil paint. Some of his works are: the very Baroque "Crib" (1645), done for the Church of San Luca in Genoa. "Abraham's Journey" (the Palazzo Rosso, Genoa), "Medea Casting a Spell" (c.1655), an exotic example of his mythological subject painting, and "Faun" (the Galleria Nazionale d'Arte Antica, Rome),an example of his rural paintings. Castiglione's work may be found at the Royal Collection in Windsor Castle, and in Dresden, Dublin, Hartford, Connecticut, Los Angeles, and Turin. Castiglione died in Mantua.
$#CAVALLINO,BERNARDO
##Bernardo Cavallino 1622-1654
Bernardo Cavallino was a Neopolitan painter. Nothing is known of his early training and background. The only dated work of Cavallino is his "Cecilia," (1645, Museo di Capodimonte, Naples). Cavallino rejected most of the Carravaggesque ideas. His style, uniquely his own; employed small figures, refined and delicate colors, and a gentle affect. He may have been influenced by Reubens and van Dyck.
$#CERQUOZZI,MICHELANGELO
##Michelangelo delle Battaglie Cerquozzi 1602-1660
Michelangelo Cerquozzi was best known for his paintings of battles. In fact, his nickname, "delle Battaglie", means "of the battles." Cerquozzi adopted the style of painting country people from the Dutch genre painter, Pieter van Laer.
$#CIGNANI,CARLO
##Carlo Cignani 1629-1719
Carlo Cignani was an Italian painter who first studied under Albani. He was accorded the honor of becoming the first president of the Accademia Clementina in Bologna, a post which he held from 1711 until 1719. Although he had great influence, his own style was derived from the influence of Correggio and Reni. Cignani's best work is considered to be "The Assumption of the Virgin" (1686-1706) painted on the ceiling dome of Forli Cathedral.
$#CONCA,SEBASTIANO
##Sebastiano Conca 1676/80-1764 ca.
Sebastiano Conca was born near Naples, and was a pupil of Solimena. Conca lived in Rome from 1706 to 1750, except for a brief sojourn to Turin around 1730. Conca received many commissions from various churches, and painted mainly historical and religious subjects. He was also known as a fine teacher and a writer. Giordano seems to have influenced Conca, whose work indicates some classical direction. In 1751 Conca moved back to Naples to decorate the church of Santa Chiara in Naples. He stayed there for the rest of his life. Unfortunately, the church was totally destroyed during World War II.
$#CRESPI,DANIELE
##Daniele Crespi 1590-1630
Daniele Crespi may have been related to Giovanni Battista Crespi. He is best known for one masterpiece, "The Humble Repast of St. Charles Borromeo", which is also called "St. Charles Borromeo's Lenten Meal" (1628, the Santa Maria della Passione, Milan). Crespi captured the spirituality of the saint in his painting, reflecting the fervor of the Counter Reformation, still active in Milan. Many of Crespi's works are still located in Milan where his masterpiece hangs, so that it could almost be considered a museum of his works. Crespi's prolific career was cut short when he died in the Plague of 1630.
$#CRESPI,GIOVANNI BATTISTA (IL CERANO)
##Giovanni Battista Crespi 1557-1663 ca.
Giovanni Crespi was born in Cerano, near Novara. Crespi was a sculptor, architect, engraver and writer. He worked mostly in Milan and visited Rome and Venice. His paintings were done in the Lombard Mannerist style. Gaudenzio Ferrari was the first influence on Crespi; later influences included Barocci, Tintoretto and Veronese. Between 1602 and 1610 Crespi painted for the Milan Cathedral, and in 1620 he was appointed Director of the painting school called Accademia Ambrosiana. Later, in 1629, he was made head of the sculpture workshop there. Several other churches in the area commissioned sculpture from Crespi. One of his most famous paintings is "Mass of St. Gregory" (1615--1617 for San Vitorre in Varese).
$#CROSATO,GIOVANNI BATTISTA
##Giambattista Crosato 1695/7-1756 ca.
Giambattisto Crosato was born in Venice. Crosato is most well known for his frescos, some of which were done in Turin in the Palazzo Stupinighi. Crosato settled in Venice in 1743 and it was there that he painted the huge banquet room at the Ca'Rezzonico. Crosato's style reflected influences of Pelligrini and Amigoni.
$#MORETTO,ALESSANDRO BONVICINO
##Alessandro Bonvicino Moretto da Brescia 1498-1594 ca.
Alessandro Moretto was born in Brescia. He spent most of his career in the Brescia and Bergamo districts. He visited Milan and Verona in the 1540s. With Savoldo and Romanino, Moretto is considered one of the foremost Brescian painters. Moretto's specialty was religious paintings, and he was influenced by Giorgione and Bellini. He was also a portrait painter, and his portraits show the influence of Lotto and Titian. "St. Justina" (1530), "Madonna with St. Elizabeth and Two Donors" (1541), and "Portrait of a Gentleman" (1526) are three of his more famous works. Moretto was able to instill a peacefulness into his artwork, and he was the first in Italy to paint his subjects as full-length, independent paintings. Moretto died in Brescia in.
$#VALENTIN DE BOULLOGNE,MOISE
##Moise Valentin de Boullogne 1594-1632
Moise Valentin de Boullogne was called "Le Valentin". His entire known career was spent in Rome, where he lived from 1612. Little is known about his career, except that he was primarily a painter of religious scenes. "The Martyrdom of St. Processus and St. Martinus" an alterpiece, was his masterwork (1629, St. Peter's, the Vatican, Rome). Other paintings indicate influence by Manfredi. Another of Le Vallentin's known works is "Soldiers and Bohemians" (1625, the Indianapolis Museum of Art, Indiana, USA).
Domenchino was a Bolognese painter and was one of Annibale Carracci's favorite students. Domenichino followed Carracci faithfully. Domenichino studied with Calvaert, and in Carracci's academy, prior to going to Rome at age twenty-one (1602). Domenichino was one of the innovators of landscape painting, along with Carracci, Elsheimer and the Brills. While in Rome, Domenichino helped Carracci with the Farnese Gallery. By 1620, Domenichino was one of the foremost painters in Rome. His frescos on "The Life of St. Cecilia" were done in true Classic style and greatly impressed Poussin. He was the architect for Pope Gregory IX. Domenichino had quite a temper and was at odds with Lanfranco who had worked the dome of Saint' Andrea della Valle, while Domenichino did the decorations of the choir and pendentives. In 1631, Domenichino was called to Naples to decorate the chapel of San Gennaro in the Cathedral. He accepted that commission because his style was, at that time, losing popularity in favor of the Baroque style of Lanfranco and others in Rome. Domenichino's landscapes would be a major influence on Claude. The altarpiece, "Last Communion of St. Jerome (1614, the Vatican, Rome), "Landscape with Tobias and the Angel" (1615 ca.), and the portrait of "Monsignor Agucchi" (1610 ca.), are examples of Domenichino's broad painting skill.
$#ROSSO,GIOVANNI BATTISTA
##Giovanni Battista Rosso 1494-1540
Giovanni Rosso trained under Andrea del Sarto and is considered a pioneer of the Mannerist school. From 1513 to 1521, Rosso worked in Florence. During that time he painted "Madonna and Saints" (the Uffizi, Florence). This painting was originally rejected, because of the criticism that the saints looked like devils rather than saints! Rosso also painted "Deposition" (1521), the "Dei Madonna" (1522) and "Moses Defending the Daughters of Jethro" (c. 1523) during these early years. After leaving Florence, Rosso journeyed to Rome, where he stayed for the next several years. Sometime between 1527 and 1530 he toured Italy. Rosso worked with Primaticcio while in Rome and became one of the creators of the Fountainebleau style. Vasari says that Rosso committed suicide, but others believe that his death was from natural causes.
$#FURINI,FRANCESCO
##Francesco Furini 1600/4-1646
Although there are only two dated works by this artist, Francesco Furini is considered to be one of the very unique artists in Florentine art history. Among the few remaining works are two frescos completed between 1636 and 1637. These show an allegorical history of the Medicis; they are in the Pitti Palace in Florence. Raphael and Reni obviously influenced Furini. Furini also painted a series of female nudes against dark backgrounds, paintings that show excellent draftsmanship and touching eroticism.
$#GHISLANDI,FRA VITTORE (FRA GALGARIO)
##Fra Vittore Ghislandi 1655-1743
Fra Ghislandi (also called Fra Galgario and Fra Paolotto) was born in Bergamo. He recieved his training in Venice and was a highly esteemed painter of the late Baroque period. He remained in Venice for twenty-five years. He became affiliated as a lay person with the Order of San Francesco di Paola; hence, the assumed name, in Religion, Fra Paolotto. Ghislandi returned to Bergamo in about 1700. His portraits were obviously influenced by both the Bergamese and the Brescian traditions, and it is apparent that Moroni's work influenced Ghislandi.
$#GIANQUINTO,CORRADO
##Corrado Gianquinto 1669-1765 ca.
Corrado Gianquinto was Neopolitan. He studied under Solimena prior to moving to Rome in 1723. In Rome, Gianquinto trained and worked under Conca who was also a former student of Solimena. The two artists worked together in Turin and in Rome. In 1740, Gianquinto was elected to the Academy of St. Luke; ten years later he was elected president of that organization. Between 1752 and 1761 Gianquinto was the court painter to Ferdinand VI in Madrid. When another artist was invited to the city by Charles III, Gianquinto left Madrid. Gianquinto's style belongs to the Neopolitan Rococo school. "Prophets, Heroines and Sibyls" (1749), and the very large "Birth of the Virgin" (1751--1752) in the Pisa Cathedral, are two of his better known works.
$#GUARDI,GIOVANNI ANTONIO
##Giovanni Antonio Guardi 1698-1760
Giovanni Guardi, called Gianantonio, was born into a family of Venician painters. As the eldest son of Domenico Guardi, he was the head of the family studio until his death in 1760. It is believed that he and his brother Francesco worked together on several paintings done as illustrations for Tasso's "Gerusalemme Liberata", and, on paintings which were used as decorations in the church of Angelo Raffaele in Venice.
$#GUARINI, FRANCESCO OR GUARINO
##Guarino Guarini 1624-1683
Guarino Guarini was born in Modena. Guarini entered the priesthood in 1639 and soon became Superior of his monastery. Due to difficulties with the court, he was forced to leave Modena. He was also the primary Baroque architect of Northern Italy prior to the practice of Filippo Juvara As both priest and architect he used the next ten years to teach and design buildings in Paris, Munich, Parma, Lisbon and other European cities. Finally, in 1666, Guarini was able to take up residence in Turin. There Duke Carlo Emanuele II retained him to build several buildings which are considered some of his best work. Thirteen years later, in 1679, Guarini was appointed Superior of the Theatine monastery in Turin. While in Turin, Guarini designed the Theatine Church of San Lorenzo, the Torinese Church of Sant'Andrea, the Palazzo Carignano and the Palazzo Provana di Colegno. Guarini had the ability to use brick and stucco in a very powerful way. He wrote "L'architettura civile", published after his death. The book contains projects which no longer exist or were never completed. It also contains some geometric experiments. $#JUVARA,FILIPPO
##Filippo Juvara 1674/6-1736
Filippo Juvara was best known for his architectural work and is considered one of the finest architects of the late Baroque period. Although he started as an engraver and theatrical designer, he achieved some note by designing for the papal court. Juvara designed buildings for admission to the Academy of Saint Lucia in Rome. and for a contest held by Pope Clement XI. Some of his designs were later used in Piedmont. In 1713, Juvara began to achieve international recognition. His first work was for the the facade of the church of Saint Cristina; it required fifteen years to complete. He was also responsible for refacing the Trinita, and the altars and chapels for San Stefano, Corpus Domini, La Visitazione, and Saint Teresa. Juvara liked the Rococo style for decoration of secular buildings. The two works which are considered Juvara's best are: the church for the monastery of Superga near Turin (1717-31), and a hunting lodge, also near Turin (1719--1735 ca.). 1735. Juvara also designed the Royal Palace in Madrid (designed in 1735 and built between 1738-64). His pupils Benedette Alfieri and Giovanni Batista Sacchetti continued Juvara's work after his death in 1736.
$#LAER OR LAAR,PIETER VAN
##Pieter van Laer 1592/5-1642
Pieter van Laer was born in Haarlem. Because of a birth deformity, he was called "Bamboccio", which is "puppet" or "clumsy baby" in Italian. Laer went to Italy in 1625, where he began painting street scenes. The people in his paintings, portrayed with sensitivity and empathy, were realistically detailed and featured gloomy lighting. In Rome, Laer numbered Poussin, Claude and Sandrart among his friends. He returned to Haarlem in 1638; he spent the rest of his life there. Laer's pictures achieved popularity with the Italians, although some did not consider them a "high" art form. Laer was influenced by Caravaggio's naturalism, and many painters emulated his style in landscapes. In "Self-Portrait" Laer depicted his deformities as they were, without acrimony or self-effacement.
$#LUINI,BERNARDINO
##Bernardino Luini 1480/5-1532 ca.
The place of birth of Bernardino Luini is not known. Earliest record of Luini is his fresco done for the Chiaravalle Abbey and showing the "Virgin with Angels" in a landscape background (1512). Another another painting in the Musee Jacquemart-Andre in Paris is dated 1507 and signed simply "Bernardino"; however, there is no definite evidence that Luini was the Bernardino who painted this work. Luini was definitely influenced by Bramantino and other Milanese painters in his early career. Later, Leonardo provided the most inspiration, and Luini was extremely successful at imitating and manipulating Leonardo's style so that it would be popular with the masses. Luini was very prolific.
$#LISS OR LIS,JOHANN OR JAN
##Jan Liss 1590-1629 ca.
Johann or Jan Liss (also spelled Lyss) was born in Oldenburg, Schleswig- Holstein, Germany. Although Liss was a German Baroque in his style of painting, he is sometimes classified with the Venetian School. He was educated in Amsterdam, Haarlem and Antwerp. He was influenced by the Mannerist painter Bartholomaeus Spranger, and by the engravings of artists such as Hendrick Goltzius. Liss moved to Rome between 1621 and 1622, and kept company with some ostracized painters, He returned to Venice in 1624 and stayed there for the rest of his life. Some of the paintings which were originally attributed to Rubens and Jordaens (among others) have now been credited to Liss. His style can best be described as very colorful with free-flowing brushstrokes. Liss' subjects were taken from many areas, including the military, mythology and religion. Examples of Liss' work are "Soldiers' Camp" (1625, the Germanisches Nationalmuseum, Nuremburg), and the "Vision of St. Jerome", (1628--1629, at Santo Niccolo dei Tolentini, Venice).
$#MADERNO,CARLO
##Carlo Maderno 1556-1629
Carlo Maderno was born in Capolago, Lake Lugano, Italy. Maderno originally assisted his uncle, Domenico Fontana, as a stucco worker. He did not begin his architectural career until he was in his fifties. Pope Paul V was especially credited with giving Maderno the work which made his architectural career successful. He designed the facade of Santa Susanna in Rome between 1597-1603 as his first work. His technique of thickening the wall toward the center was something which had not been done for many years. Shortly before Pope Paul's coronation, Maderno was appointed as the architect for St. Peter's (1603); it was four years later that he became Pope Paul's official architect. Maderno was told to remodel the basilica of St. Peter's and was later criticized for changing the original Michelangelo design. Maderno's only real competition came from Borromini and Bernini, but they did not diminish Maderno's commissions. Interestingly enough, even though several buildings were started or finished by him, there is only one building which was entirely of his own design, the Santa Maria della Vittoria, done between 1608 and 1620. Other buildings worked on by Maderno are the high altar of Santa Maria della Pace (1611-1614), the Santa Andrea della Valle, the Palazzo Mattei and the Palazzo Barberini.
$#MAFFEI,FRANCESCO
##Francesco Maffei 1620-1660 ca.
Francesco Maffei was born in Vicenza An Italian Baroque painter, Maffei did most of his work in the Veneto region. He was influenced by the Venetian master Veronese. Maffei's paintings were unconventional in their style; he used elongated, almost unearthly figures and agitated brushwork. An example of Maffei's work is "Parable of the Workers in the Vineyard", (1650, the Museo di Castelvecchio, Verona). Maffei moved to Padua in 1657 and spent the last years of his life there. His paintings of that period exhibit a calmer style. One example of his Paduan works is "The Annunciation", now in Hull, Ontario, at the Ferens Art Gallery.
$#MAGNASCO,ALESSANDRO (IL LISSANDRINO)
##Alessandro Magnasco 1667-1749
Alessandro Magnasco was born in Genoa. He was called "Il Lissandrino". Magnasco traveled Milan between 1680 and 1682, where, it is believed, he was one of Filippo Abbiati's students. Magnasco subsequently used a fast, colorful technique. In 1703, he returned to his native Genoa, and later became the official court painter to the Grand Duke of Tuscany in Florence. As the court painter, Magnasco would often travel through Lombardy, Tuscany and Emilia. For twenty-four years (1711-1735) Magnasco resided in Milan and then, between 1735 and the time he died, he lived in Genoa. Because of Magnasco's free-flowing technique, he was admired greatly during the Romantic period. Magnasco was fond of painting landscapes, often showing blustery weather and including figures of monks. Some of Magnasco's works are "The Domesticated Raven", "Old Woman and the Gypsies", "Hunting Scene", and "Garden Party at Albaro".
$#MARATTI,CARLO
##Carlo Maratta 1625-1713
Carlo Maratta (also spelled Maratti) was a pupil of Sacchi, although little is known of his early years. He learned the classical traditions of Raphael from Sacchi, and Maratta, like his teacher, painted superb portraits. One example is "Pope Clement IX", completed between 1667 and 1669. Maratta has the reputation as one of the last great Baroque stylists, and one of the first painters to use the Neoclassic technique. Maratta's Madonnas won great praise during his life, and still admired as being extremely well done. His career was a very long one, and his paintings are considered to be the best of the best among his peers during the last part of the 17th century and the first part of the 18th. Other examples of his work are "The Adoration of the Shepherds", "Madonna and Child (1695 ca., the Vatican Gallery), and "Robert, 2nd Earl of Sunderland in Antique Costume" (1661, in Althorp).
$#MARIESCHI,MICHELE
##Michele Marieschi 1696-1745
Michele Marieschi was a member of a family of Venetian painters. There has been confusion about his work in regard to the other painters in his family. It is known that Marieschi worked in Saxony prior to returning to Venice. He was influenced by Canaletto, and he himself influenced Guardi. Most of the early paintings done by Marieschi were architectural fantasies, but he later turned to painting city views of Venice. Marieschi published twenty- one of his etchings under the title "Magnificentiores Urbis Venetiarum Prospectus". There is only one signed painting in existence today signed by Marieschi; that painting is now located in Bristol. There are however, other works attributed to Marieschi in Cambridge, Dublin, London and Stockholm.
$#MOLA,PIER FRANCESCO
##Pier Francesco Mola 1612-1666
Pier Francesco Mola was trained in Rome with Il Cavaliere d'Arpino and later by Albani in Bologna. Mola was also highly influenced by Guercino and the Venetians. He is considered one of the outstanding examples of the romantic Roman painters. Mola spent about fourteen years in northern Italy. There, he came under the influence of Guercino's technique of soft modelling. Mola primarily painted landscapes with biblical figures. Examples are "The Rest on the flight into Egypt" (1630 ca., the National Gallery, London), "Joseph Making Himself Known to his Brethren" (1657, the Quirinal Palace, Rome), and "Barbary Pirate" (the Louvre, Paris).
$#MORAZZONE, (IL PIER FRANCESCO MAZZUCCHELLI)
##Pier Francesco Mazzuchelli Morazzone 1571/3-1626 ca.
Pier Francesco Morazzone, called "Il Mazzucchelli", was one of the primary Milanese painters in the early seventeenth century. He was influenced by Ferrari. There are surviving frescos by Morazzone in Rome in San Silvestro in Capite; some of his important works are found in the chapels on the Sacri Monti at Varallo, Varese and Novara. At his death, Morazzone left his work on the Piacenza Cathedral frescos to be finished by Guercino.
$#MORONI,GIAMBATTISTA
##Giovanni Battista Moroni 1525-1578 ca.
Giovanni Battista Moroni, also called Giambattista Morrone, was born in Albino near Bergamo. Moretto da Brescia, was Moroni's first teacher and exerted great influence on his career. Lotto also influenced Moroni. He was mainly active in the town of Bergamo. He received numerous commissions for church altarpieces including "The Coronation of the Virgin" (1576) for the church of Sant' Alessandro della Croce in Bergamo. He also painted portraits showing Spanish influence. His portraits are grayish in tone, similar to Whistler's, and are not like those of his peers. There is an excellent collection of Moroni's art at the National Gallery in London, as well as pieces in museums world wide.
$#PALLADIO,ANDREA
##Andrea Palladio 1518-1580
Andrea di Pietro della Gondola was born in Padua. He was called Andrea until he got the nickname, "Palladio" from the poet Giangiogio Trissino of Vicenza, who felt that Andrea had been given the grace and wisdom of the Greeks. Although Andrea started as a stonecutter in Padua, he honed his style by visiting the classic buildings of Verona, Istria and Rome. Virruvius, Bramante and Michelangelo all had influence on his architectural career. The Renaissance and Mannerist traditions by which he was influenced can be seen in the classic figures he used on his buildings. In 1546 Palladio won a architectural competition to design new facades for the Palazzo della Ragione in Vincenza. Palladio's solution to the inherent problems combined the unique characteristics of the old building with his own individual design for the new work. This building established Palladio's reputation in the cities of Venice and Vicenza. and helped gain many commissions over the next thirty years. He worked for nobility and built many town palaces. He generally used one of two methods: the building of high columns which surrounded the entire building or the addition of another story to existing architecture. Palladio also designed country villas for the wealthy. Palladio's works in the vicinity of Vincenza include the Palazzo Chiericato (started in 1550), and the Villa Capra (1550-51). The Villa Barbaro at Maser (started 1555-59 ca., and now called the Villa Volpi) was his masterpiece. Palladio also designed for theaters such as the wooden theaters at the Vicenza and for the Convento della Carita in Venice (1565). Most of his secular work was done in or near Vicenza; his religious architecture, for example The San Giorgio Maggiore (1566-80) was in Venice. Scamozzi, Aleotti, and Zamberian were devotees of Palladio and continued his traditions. He died in Vicenza.
$#PANNINI,GIOVANNI PAOLO
##Giovanni Paolo Pannini 1691/2-1765 ca.
Giovanni Paolo Pannini was born in Piacenza. Giovanni's specialty was his mastery of vedute or city views. When Giovanni went to Rome in about 1718, he began by painting celebrations by public officials, local festivals and other historic events, such as "Interior of St. Peter's with Cardinal de Polignac" (1729 the Louvre, Paris). Pannini was able to catch the spirit of the events on canvas by the use of powerful lighting and rich diagonals. He also combined real and imaginary scenes as shown in his masterpieces "Ancient Rome" and "Renaissance Rome" (1757, the Metropolitan Museum, New York).
$#PELLEGRINI,GIOVANNI ANTONIO
##Giovanni Antonio Pellegrini 1675-1741
Giovanni Pellegrini was a Venetian painter and decorator whose first teacher was Sebastiano Ricci. Pellegrini had many clients in foreign lands and travelled frequently to Austria, England, Holland, Germany and France. His first recorded painting was in 1703. After his marriage (1703 ca.) Pelligrini moved to London to work with Lord Manchester in 1707. As a result of this commission, Pellegrini achieved considerable fame in England and, in 1711, became a director of Kneller's Academy in London. He was commissioned to do a large ceiling fresco in France at the Royal Bank, but this fresco met with such a negative response that it was destroyed. He was also commissioned to decorate the Great Hall in the Mauritshuis in The Hague (1718).
$#PERUZZI,BALDASSARE
##Baldassare Tomaso Peruzzi 1481-1536
Baldassare Tomaso Peruzzi was born in Siena. At age twenty-two, Peruzzi left Siena and moved to Rome, where he spent the rest of his life. Although it is not known who originally trained Peruzzi, he did work with Pietro d'Andrea and helped Donato Bramante, the latter of whom had a great influence on him. Bramante and Peruzzi worked together on St. Peter's. Peruzzi was best known as an architect, but he was also a painter and scenographer. The church of San Onofrio, decorated in 1503, was done by Peruzzi and d'Andrea. In 1508 Peruzzi started the building of the Villa Farnesina in Rome. Architecture was the primary emphasis of his remaining career was. Between 1516 and 1517, Peruzzi and Raphael, by whom he was strongly influenced, worked together on the decoration of the church of Santa Maria della Pace in Rome. Two of Peruzzi's contributions to the church are "Presentation in the Temple" and "Madonna with St. Bridget, St. Catherine, and the donor Ferdinando Ponzetti". Peruzzi was also an excellent landscape gardener, as shown in the Villa Farnesina, where plants were made into pavilions and the arcades were covered with flowers. In 1520, Peruzzi was made director of the work on St. Peter's; he replaced both Bramante and Raphael. Between 1532 and 1536 Peruzzi completed his masterpiece, the Palazzo Massimo alle Colonne in Rome.
$#PIAZZETTA,GIAMBATTISTA
##Giovanni Battista Piazzetta 1682-1754
Giovanni Battista Piazzetta was born in Venice, the son of a woodcarver. His first teacher, and great influence, was Crespi in Bologna (1703). In 1711, Piazzetta returned to Venice to remain. He was individualistic, painting in oils for the most part rather than in the fashionable fresco. And, he used dark serious tones rather than the bright colors which were becoming popular. Piazetta did, however, do one magnificent fresco, the ceiling in the chapel of Santi Giovanni e Paolo. Rembrandt was an influence on Piazzetta in his later years; this influence is seen in Piazzetta's drawings, done for books and collectors as a means to support his family. "The Fortuneteller" (1740, the Accademia, Venice); the "Idyll on the Seashore" (1740 ca., Wallraf-Richartz-Museum, Cologne) and "Rebecca at the Well" (1740 ca., the Brera, Milan) are fine examples of Piazzetta's surviving work; unfortunately, few of his paintings have survived.
$#PITTONI II,GIOVANNI BATTISTA (IL PITTONI)
##Giovanni Battista Pittoni II 1687-1767
Giovanni Battista Pittoni II was born in Venice, the son of the artist Giovanni Pittoni I. Sebastiano Ricci and Piazzetta, along with the artist Tiepolo, were all influential to Pittoni's career. They are considered the primary artists of the Venetian Rococo school. In 1716, Pittoni entered the Venetian Guild. and he became one of the founding members of the Venetian Academy in 1758. Pittoni did work for clients in Russia, Poland and Germany. An example of his work is "The Sacrifice of Jephtha" (1733, the Palazzo Reale, Genoa).
$#PORDENONE,GIOVANNI ANTONIO DE LODESANIS
##Giovanni Antonio Pordenone de' Sacchis 1484-1539 ca.
Giovanni Pordenone was born in Pordenone, near Udine, Italy. His influences include Michelangeleo, Raphael, Titian, Giorgione, and, German art. Pordenone's painting, "Saint Gothard between Saint Roch and Saint Sebastian" (after 1525. the Pinacoteca), Pordenone) shows the Mannerist influence. There are frescos by Pordenone in the Cremona Cathedral (1519- 20 ca.). These are considered fine examples of his work; they were completed by Pordenone after begin started by Romanino. He also painted some magnificent "Crucifixion" scenes between 1520 and 1521 for the same cathedral, and, there are other frescos painted by Pordenone for the Malchiostri Chapel in Treviso (1519-20). At one time, Perdonone was considered to be Titian's rival.
$#POZZO OR PUTEUS,ANDREA
##Fra Andrea Pozzo 1642-1709
Fra Andrea Pozzo was born in Trento, Italy. He became a lay brother of the Jesuits in 1665. He was an architect, painter, stage designer, and one of the best illusionist ceiling decorators of his time. His masterpiece is "Allegory of the Missionary Work of the Jesuits" (1691--1694 ca., the nave vault of Saint Ignazio Church, Rome). Another fresco, the "Triumph of St. Ignatius of Loyola" was done in the same church and during the same period. The church's huge ceiling, painted in quadratura (illusionist painting), is considered a great work of art. Pozzo's treatise on perspective for architects and painters greatly helped to establish his reputation. He was a precursor to the Austrian Rococo style.
$#PRIMATICCIO OR PRIMADIZZI,FRANCESCO
##Francesco Primaticcio 1504-1570
Francesco Primaticcio was born in Bologna. He trained under Giulio Romano, and he also worked with him on the decoration of the Palazzo del Te at Mantua. He was one of the leading Mannerists. In 1532, he went to Fontainebleau and worked with Rosso to decorate the Royal Palace for Francois I. Primaticcio also worked with Niccolo dell'Abbate on the decorations of the Ulysses Gallery in Fontainebleau. In 1546, Primaticcio went to Rome, where he had a cast made of Michelangelo's "Pieta". In 1563, Primaticcio met Vasari in his native town of Bologna. Primaticcio integrated the Italian Mannerist techniques into French decoration; his engravings also had a wide influence. Primaticcio also worked on the tomb of Henri II in Paris with the sculptor Germain Pilon. A series of drawings based on Ovid's "Metamorphoses", Homer's "Iliad", and the adventures of Hercules, Ulysses and Alexander the Great, are still extant, as are tapestries taken from his cartoons.
$#PROCACCINI,GIULIO CESARE
##Giulio Cesare Procaccini 1570-1625 ca.
Giulio Cesare Procaccini was born in Bologna. His brother, Camillo, was also a painter. Procaccini started as a sculptor but worked in Modena as a painter from 1613-1616. He was greatly influenced by Correggio and Parmigianino. In 1618 he went to Genoa, where he met Rubens. Procaccini represented Lombard Mannerism. With Crespi and Morazzone, he worked on the "Martyrdom of Saints Rufina and Seconda" (the Brera, Milan).
$#RAINALDI,CARLO
##Carlo Rainaldi 1570-1655
Carlo Rainaldi was born in Rome. This Italian architect was the son of Girolamo Rainaldi, also an architect. Carlo combined several different schools in his architecture: Mannerism, Roman Baroque and Northern Italian. He worked with his father on several commissions, including the Piazza Navona done for Pope Innocent X. Carlo built the church of Santa Maria in Campitelli between 1666 and 1667. The twin churches of Santa Maria di Monte Santo and Santa Maria dei Miracoli on the Piazza del Popolo in Rome were also done by Carlo. The influence of Bernini may perhaps be seen in these buildings. In 1673, Bernini changed the plans which Carlo had made for the twin churches.
$#RECCO,GIUSEPPE
##Giuseppe Recco 1624-1695
Giuseppe Recco was born in 1623, the son of a painter. His father, Giacomo, and Giovanni Battista (either his brother or his uncle), were also painters and all used the same monogram for their paintings. Giuseppe was the most famous of the three. His major subject was still lifes. It is thought that Giuseppe was influenced by Baschenis on a visit to Lombardy. All of Guiseppe's painting are in the Spanish realist style; some are so similar in style to Velaquez' work that it is difficult to make certain identifications. Giuseppe died in Spain.
$#RICCI,MARCO
##Marco Ricci 1676-1729
Marco Ricci was born in 1676, the nephew of the painter Sebastiano. Marco and Sebastiano were among the first of a line of itinerant Venetian painters including Canaletto, Bellotto and Tiepolo. Marco took his training in Venice and Bologna and was his uncle's pupil. It is believed that Marco also worked with Sebastiano while his uncle was in Florence (1706-7). Marco travelled to Rome and Milan and possibly knew Magnasco. He later went to England, where he worked with Pellegrini (1708). He lived in London with his uncle until 1717. The Riccis did many shared works including large landscape backgrounds for religious subjects. Marco was among the first etchers of the eighteenth century. His etchings were called "Experimenta" and were published, posthumously, in 1730. (Marco died in Venice in 1729.) His works, and those of his uncle, can be seen in the Royal Collection in London.
$#RICCI OR RIZZI,SEBASTIANO
##Sebastiano Ricci 1659-1743
Sebastiano Ricci was born in 1659. Sebastiano's nephew was the painter Marco Ricci. Sebastiano was one of the first of a group of Venetian painters who travelled during much of his career. Other itineratnt Venetians painters who did the same were Canaletto, Bellotto and Tiepolo. Sebastiano collaborated with his nephew Marco on several works. Sebastiano painted subjects from mythology, religion and history. He worked very quickly and this speed often affected the quality of his work. There are twenty-one paintings by Sebastiano in the Royal Collection in London.
$#ROSSELLINO,ANTONIO
##Bernardo Rossellino 1409-1464
Bernardo Rossellino was born in Florence. He taught both of his brothers, Antonio and Desiderio. The tomb of Leonardo Bruni, who was Chancellor of Florence (1445--1450 ca.) is considered Bernardo's finest work. Between 1435 and 1454 Bernardo did extensive work in the field of funerary monuments. He was also an assistant to Leon Battista Alberti's, and built the Palazzo Rucellai in Florence (1446-53) to Alberti's specifications. Washington, D.C.
$#SACCHI,ANDREA
##Andrea Sacchi 1599-1661
Andrea Sacchi was born in Rome. Although he studied under Albani, he was more directly influenced by Raphael, and, while still a young man, was influenced by Carracci. Sacchi argued with Pietro da Cortona in the Accademia di San Luca as to whether there should be few figures in historical paintings, as he thought, or many, as da Cortona thought. Although Sacchi won the debate, his most representative painting, the ceiling fresco of "Divine Wisdom" (1629-33) completed at the same time as Cortona's in the same building, does not compare favorably with Cortona's work. In the 1640s he developed a more colorful style as seen in "River Scene" (1644, the Mauritshuis, The Hague).
$#ROSA,SALVATOR
##Salvator Rosa 1615-1673
Salvator Rosa was born in Arnalla near Naples. Rosa was a painter, poet, etcher, actor and musician. His teacher was Falcone, and he was also influenced by Aniello, Michelangelo Cerquozzi and Ribera. It is thought that Lanfranco was attracted to Rosa's works. In 1635 he went to Rome, but he contracted scarlet fever and returned to Naples in 1636. In 1639, he again moved to Rome and established permanent residence there except for visits to Florence between 1640 and 1649. In Florence, Rosa worked for the Medici court. His temperment was somewhat bohemian, restless, and creative genius. Rosa painted battle scenes, charming landscapes with rocky settings and allegories which were rather bizarre. "Battlepiece" (1652, the Louvre, Paris), "St. Onofrio" (mid 1660s, the Brera,Milan), and "Human Fragility" (about 1657, the Fitswilliam Museum, Cambridge) are examples of Rosa's work.
$#SALVIATI,FRANCESCO
##Francesco Salviati 1510-1563
Francesco Salviati was born in Florence. He recieved early training from del Sarto, in whose studio he worked in 1529. Francesco's surname of Salviati was taken from Cardinal Salviati, for whom he worked beginning in 1531. Salviati was also friends with Vasari. Together the two were able to salvage the arm from Michelangelo's "David". Salviati travelled from Venice to Florence to Rome. He was greatly influenced by Pontormo, Michelangelo and Raphael. Salviati also designed tapestries and painted portraits. "Incredulity of St. Thomas" (the Louvre, Paris), "The Visitation" (1538, the Oratory of San Giovanni Decollato, Rome), and (probably) the scenes of "David" (the Palazzo Ricci-Sacchetti) are examples of Salviati's work.
$#SARACENI,CARLO (VENEZIANO)
##Carlo Saraceni 1585-1620
Carlo Saraceni was born in Venice. Both Elsheimer and Caravaggio exerted great influence on Saraceni. One painting, "The Rest on the Flight into Egypt" (1606, the Calmadolese Hermitage,) show figures in the style of Caravaggio placed in an Elsheimer-type landscape. When both Elsheimer and Caravaggio died in 1610, Saraceni gained some of their market; for instance, Saraceni painted "Death of the Virgin" (the Louvre, Paris) as a replacement for Caravaggio's painting of the same name. In 1613, Saraceni painted for the Mantuan court, and, about three years later he began a painting for the Doge's Palace. This painting was completed by one of his pupils after Saraceni's death at thirty-five.
$#SASSOFERRATO,GIOVANNI BATTISTA SALVI
##Giovanni Battista Salvi Sassoferrato 1605-1685
Giovanni Sassoferrato spent most of his career in Rome and was highly influenced by Domenichino. He also worked in Urbino and Perugia. He was the leading sculptor of his time. The famous sculptors of the next generation, almost without exception, were trained in Sassoferrato's studio. Two of Sassoferrato's paintings can be seen in London as part of the Wallace Collection. The half-length painting "Virgin in Prayer" is probably his most well-known piece.
$#SOLIMENA,FRANCESCO (L'ABATI CICCIO)
##Francesco Solimena 1657-1747
Francesco Solimena was born near Naples. He painted in the late Baroque style and was very famous in the eighteenth century. Luca Giordano, Maratta, da Cortona, Lanfranco and Mattia Preti all influenced Solimena's style. Inturn, through his studio, Solimena influenced many painters including Francesco de Mura, Sebastiano Conca, Giuseppe Bonito, Corrado Giaquinto and Allan Ramsay. Solimena painted his greatest works in the churches of Naples: San Paolo Maggiore, Gesu Nuovo and San Domenico Maggiore all of which suffered damage in the second World War. "Self- Portrait" (the Uffizi, Florence) shows Solimena's unequalled style.
$#STANZIONE (CAVALIERE MASSIMO),MASSIMO
##Massimo Stanzione 1585-1656
During the early seventeenth century, Stanzione was one of the foremost Neopolitan painters. He has been called the Neopolitan Guido Reni due to his Bolognese classicist style/ Stanzione was influenced by Caracciolo, Carracci and Ribera. Little is known of his life, but he may have died in the plague in Naples. One signed piece by Stanzione exists in San Francisco, California.
$#TESTA,PIETRO (IL LUCCHESINO)
##Pietro Testa 1611-1650
Pietro Testa was born in Lucca, Italy in 1611. He spent most of his short career in Rome. Testa was taught by Domenichino and influenced by the artists of Poussin's circle. Because of his sometimes bizarre subjects and temperament, he is much closer to Castiglione and Rosa in style. Only a few of his paintings have survived; Testa is better known for his etchings. The extremely complex. "Allegory of Reason" (1640-50 ca.) is probably his most famous piece; it is It is believed that he died by his own hand in 1650.
$#TIBALDI,PELLEGRINO DA BOLOGNA
##Pellegrino Tibaldi 1527-1596
Pellegrino Tibaldi was born near Milan. Not much is known of his early life, but he became one of the leading Italian Mannerists of the late sixteenth century. He was strongly influenced by Michelangelo, Parmigianino and Abbate. Tibaldi was a sculptor, painter and architect. His earliest known painting is the "Adoration of the Shepherds" (1648, the Galleria Borghese, Rome. Also called "Adoration of the Christ Child"). Tibaldi worked on the frescos in Castel San Angelo in collaboration with Perino del Vaga. He finished them after Vaga's death. The frescos which Tibaldi did in Bologne in the 1550s, such as "The Story of Ulysses" in the Palazzo Poggi, are considered some of his finest work. Beginning in 1560, Tibaldi worked with the Archbishop of Milan as architect for the Cathedral. King Philip II of Spain invited Tibaldi to Spain in 1585 where he did a large number of frescos. These last works greatly influenced Spanish Mannerist painters. Tibaldi died in Rome.
$#TIEPOLO,GIOVANNI BATTISTA
##Giovanni Battista Tiepolo 1696-1770
Giovanni Battista Tiepolo was born in Venice, the greatest in a long line of Tiepolo fresco painters. Although he recieved his early training from a relatively unknown painter by the name of Lazzarini, he became one of the premier practitioners of the Italian Rococo style. He has been called the greatest painter of the eighteenth century. Tiepolo was considerably influenced by Ricci and Piazzetta. His earliest known work is "Sacrifice of Abraham" (1715, the Ospedaletto, Venice). Tiepolo became a member of the guild in 1717. The Church of the Gesuati commissioned him in 1737 to do a series of frescos which display his remarkable skill. He travelled throughout Italy and received many commissions for churches and palaces. Some of these works include "Gathering of the Manna" and "Sacrifice of Melchizdek", both of which are over thirty feet high (1735--1740 ca.), and, the "Antony and Cleopatra" series in the Palazzo Labia in Venice (1750 ca.). Tiepolo decorated the main hall of the Scuola dei Carmini (1740-- 1744) and did several frescos in the Palazzo Rezzonico. These include his most famous work, "Merit Between Nobility and Virtue" (1758 ca., also called "Apotheosis of the Poet Quintiliano Rezzonico"). Tiepolo was elected the first president of the Venetian academy in 1755. In 1761, Charles III of Spain invited Tiepolo to Spain to decorate the Royal Palace. Many sketches and hundreds of drawings which have survived Tiepolo. Tiepolo's son, Giovanni Domenico, who was also a painter.
$#TREVISANI,FRANCESCO
##Francesco Trevisani 1656-1746
Francesco Trevisani was born in Naples. He worked in Rome from 1678 until his death. He established a studio to which many French painters came, including Lemoyne and Van Loo. Trevisani painted mostly altarpieces and cabinet pictures. His style was influenced by Giordano and as such, went against the current style of the classicist Maratta. One of his works, "Martyrdom of St. Andrew", is now in Rome at the church of Santa Andrea della Fratte.
$#VIGNOLA,GIACOMO BAROZZI (IL VIGNOLA)
##Giacomo Barozzi Vignola 1507-1573
Giacomo Vignola was born in Vignola, near Emilia. He was called Giacomo di Vignola and was an Italian architect. Vignola's teacher was Sebastiano Serlio. Vignola wrote a treatise called "Regola delli cinque ordini di architettura" in 1562 which was heavily influenced by Serlio's writings. Some have called Vignola the father of academic architecture. His design for the church of Santa Andrea in Via Flaminia, Rome, was the first which featured an oval dome. Vignola's first commission, for the Villa Giulia (1550--1555) came from Pope Julius III. The Farnese family also commissioned Vignola to design the Villa Capraola (1559--1573). Vignola was a strong influence during the third quarter of the sixteenth century and built palaces in Rome, Piacenza, Rieti and Velletri, and, building fountains in Viterbo and Vetralla. Vignola's style was Mannerist. The smaller cupolas at St. Peter's cathedral in Rome were planned and built by Vignola.
$#VANVITELLI,LUIGI
##Luigi Vanvitelli 1700-1773
Luigi Vanvitelli was born in Naples, the son of the Gaspare Vanvitelli, primarily known as an architect. Pope Clement XII commissioned Luigi to build several buildings, including the church of Il Gesu (1743--1745 ca.). King Charles IV of Naples also commissioned Luigi to build the royal palace near Naples in Caserta (1752--1774), one of the last examples of true Italian Baroque architecture. It featured a quadrilateral intersected by two huge arms of the cross, and contained over 1100 rooms. Vanvitelli also built the Chiesa dell'Annuziata in Naples (1761-82) and the Foro Carolino in Naples (1757-65). The Acquedotto Carolina, near Naples, is a grand aqueduct which rivals the engineering talent of the Roman works.
$#VASARI,GIORIO IL
##Giorio Vasari 1511-1574
Giorio Vasari was born in Arezzo, Italy. He was a Mannerist painter, an architect, and is extremely well-known as an art historian. His book, "Lives of the Most Eminent Painters, Sculptors and Architects" was first published in 1550 and, in larger edition, reissued in 1568. The book traced the development of art from Nicolo Pisano and Giotto to Michelangelo, and provides many details of the lives of various artists. Later authors have drawn heavily on Vasari's book in spite of an informal writing style its many anecdotes about the artists. Because of the book's popularity, Vasari received many commissions as a painter and architect. His work, "Descent from the Cross" (1536) was painted for San Domenico church in Arezzo, and is also called "Saints of the Annunziata". Vasari worked for Cardinal Ippolito de'Medici in Rome and later for Alessandro de'Medici in Florence. He was friends with both Michelangelo and Andrea del Sarto. Knowing the de'Medicis, gave Vasari several portrait commissions including both Alessandro and Lorenzo. Vasari's other works include "Assumption of the Virgin" (1539, the San Agostino, Monte San Savino), and "St. Jerome" (1541). Between 1546 and 1550, Vasari travelled widely throughout Italy. In 1555, he was hired to renovate the fourteenth century "Palazzo Vecchio", the residence of Cosimo de'Medici. Vasari decorated the apartments and painted frescos on the ceilings and walls. He also built the Uffizi for the Medici family to use as offices. In 1562, he founded the Accademia del Disegno in Florence. Vasari adored Michelangelo and this admiration is evident in his painting, but his architectural works are considered better than his works as a painter. Vasari died in Florence.
$#VITTORIA OR VITORIO,ALESSANDRO
##Alessandro Vittoria 1525-1608
Alessandro Vittoria was born in Trent. Prior to his move to Venice for experience in the workshop of Jacopo Sansovino, Vittoria had some early training in his hometown of Trent. He is considered a great master of sixteenth century Venetian sculpture, equal to or greater than Sansovino. The first work signed by Vittoria, "St. John the Baptist" (1550. at the Venetian church of San Zaccaria), was left unfinished. Vittoria collaborated with Sansovino on a huge statue of "Hercules", finishing that work for Sansovino. He also competed with Sansovino in a competition which was resolved when Sansovino commissioned Vittoria to do two figures for the door of the Libreia Vecchia in Venice (1555). Michelangelo was a strong influence on Vittoria. Vittoria also did a lot of work for the architect Andrea Palladio. From 1557 until he retired, Vittoria had a very large workshop where many artists received their training. He was a close friend of Titian and Tintoretto. Vittoria did many sculpted portraits of various individuals. One of the best examples is his own "Self-Portrait" (1602, tomb of Vittoria, San Zaccaria).
$#ZUCCARI OR ZUCCARO OR ZACCHERI,TADDEO
##Taddeo Zuccari 1529-1566
Taddeo Zuccari was born near Urbino. His brother Federico was also a painter. Taddeo painted in the Italian Mannerist style and worked primarily in Rome. He painted frescos in the Sala Regia of the Vatican and in the Villa Farnese. Taddeo's Adoration" is now located in Cambridge. Taddeo's brother was very prolific, and did a portrait of Queen Elizabeth while in England.
$#BARTOLOMMEO, FRA (BACCIO DELLA PORTA)
##Fra Bartolommeo 1472-1517
Fra Bartolommeo (Bacio della Porta), born near Florence, was a monk in the monastery of San Marco, the same to which Fra Angelico belonged. He had already won considerable fame as a painter under his real name, "Baccio", when the shock produced by the martyrdom of his friend Savonarola caused him to renounce painting and enter the monastery, which he did under the name of Fra Bartolommeo. After six years of utter seclusion, at the urgent entreaty of friends, he resumed his brush. About this time Raphael visited Florence, became strongly attached to Bartolommeo, learned from him his method of coloring, and, in return, gave him instruction in drawing. Both artists seem to have profited by their friendship. Bartolommeo's rank among Italian painters is high, and he is considered a key figure of the Renaissance in Florence in the early 16th century.
Characteristics.--His composition is simple, almost architectural in its masses; his favorite form is the pyramid, within whose outline he has grouped few figures. Types of figures and faces tend to be abstract and contain little individuality. His figures are clothed with heavy masses of drapery, which is quite elaborate. He is said to have been the first artist to use the lay-figure. In many pictures of the Madonna little boy angels are introduced, sitting at her feet and playing musical instruments, or otherwise occupied in ministry. Raphael borrowed this fancy. His color is finer than usual with Florentine painters, but injured by the use of black pigment in shadows. His management of chiaroscuro shows the influence of Leonardo da Vinci.
$#BELOTTO, BERNARDO (CANALETTO)
##Bernardo Belotto 1720-1780 ca.
Belotto Bernardo, was born in Venice, 1720 and died in Warsaw about 1780. Belotto was a painter and engraver and nephew and pupil of Antonio Canal (called "Canaletto"). He worked in Canaletto's studio beginning in 1735. His work is distinguished from Canaletto's by a tendency toward naturalism. He lived in Germany, and etched, from his own designs, views of Vienna, Dresden, and Warsaw. He was a member of the Academy of Dresden, and many of his works are in the gallery of that city. They are called by the name of Canaletto, which he assumed. He signed some of his works Bernardo Belotto detto Canaletto.
$#BERNINI, GIAN LORENZO
##Gian Lorenzo Bernini 1598-1680
Gian Lorenzo Bernini, who was born in Naples, 1598 and died in Rome, 1680, was known as early as his tenth year as a prodigy in art. At this time his father took him to Rome. Pope Paul V became interested in him, as did Cardinal Barberini, who assisted him in his studies. He was always fortunate, and, although he lived during nine pontificates, the favor of the reigning Pope was always his. His fame extended to other countries, and he was invited to France, where he went when sixty-eight years old, accompanied by one of his sons and a large retinue. He received large sums of money and valuable presents. He held several benefits at Rome, and his son was Canon of Santa Maria Maggiore. He was buried in Maria Maggiore, and left an immense fortune of 400,000 Roman crowns. He had a versatile talent, remarkable imagination perceptive power, and a marvelous facility of execution. It has been said that marble was like clay, or wax, beneath his hand. He believed and constantly said that one must be above rules in order to excel. There is a fascination in the sound of this maxim, but Bernini's own works prove that its practical application is difficult. In short, his desire for picturesque and unusual effect detracted from his art. Some of his most important works were executed in the time of Urban VIII. For Charles I of England he executed a statue. For this purpose the king sent him three portraits by van Dyck, and the likeness was so satisfactory that, in addition to the 6,000 crowns paid for the statue, Charles sent him a ring worth much more. The colossal equestrian statue of Louis XIV, executed by Bernini, was afterwards converted into Macus Curtius, and was sent to Versailles.
$#BRONZINO, ANGELO DI COSIMO
##Angelo Bronzino 1503-1572
Angelo Bronzino was a pupil of Pontormo, friend of Vasari, and the devoted admirer of Michelangelo. His works were very unequal, but he had remarkable ability in drawing and painting. He was employed in many important works, and after the death of Pontormo, finished the Chapel of San Lorenzo at Florence. His frescoes which remain are injured , but he was most important as a portrait painter, and he painted many illustrious persons of his time. His portraits have green backgrounds, and in style might be called Italian Holbeins. He was fond of rich garments, furs, etc., but managed them so as not to interfere with the dignity of the portrait. He had a habit of throwing a strong light and a golden tone on the face, while keeping the rest of the work dark. The somewhat chilly perfection of his figures identifies him with the mainstream of Tuscan mannerism, of which he was a notable representative.
$#CARAVAGGIO, MICHELANGELO MERISI DA
##Michelangelo Caravaggio 1569-1609
Considered a revolutionary painter, Caravaggio was the chief master of the Naturalistic School, noted by its direct anti-humanism of common life. Claiming that nature was his teacher, he was nevertheless a conscious participant in the movement. He gave the same dramatic significance to the depiction of every day events as he gave to biblical events. This lack of a hierarchy of values was truly revolutionary and with his dramatic use of light and dark, led to such bold and powerful masterpieces as "The Calling of St. Matthew" and "The Conversion of St. Paul." The realism of these other works, along with his own somewhat dissolute and violent lifestyle, outraged contemporaries and caused him to flee Rome and live in hiding for a time. The contrast, even the battle between light and dark is descriptive of both his work and his personal life. Caravaggio's iconoclastic influence achieved a renewal in art and radically changed ideas about artists and their relationship painting in the 17th century. He remained faithful to the vision of the great spirituality and nobility to be found in the humble aspects of life. He died tragically, during his wanderings following a sea crossing, October 1600.
$#CARRACCI, LODOVICO
##Lodovico Carracci 1555-1619
Born in Bologna, Lodovico Carracci is considered the founder of what is called the School of the Carracci, the most important of the eclectic schools of Bologna. Lodovico was a pupil of Prospero Fontana, and afterwards of Tintoretto. He studied with more system and devotion to the principles of art than was the custom of his time. Although he incurred much criticism in his day, it only served to convince him that there was a need of reform in the study and practice of painting. He was assisted by his two cousins, Agostino and Annibale, in the formation and conducting of his school. Carracci advocated the selection of the chief points of excellence from various masters, i.e., the color of Lombardy, the truth and nature of Titian, the design of Rome and so forth; all of these were to be united to the study of Nature. But although this doctrine was the foundation of the school of the Carracci, Carracci and his nephews soon went beyond it, and became independent artists, guided by their own genius. Their school was most prosperous, so much so that all other schools in Bologna were closed. They furnished casts, models, and drawings, as well as living subjects for study, and paid a great deal of attention to their pupils. They also gave theoretic instruction in anatomy, perspective, etc. He seems to have been the first to depict the pathos of sorrow, and his example resulted in the almost numberless sorrowing feeling in his works which raises him above his own school. It is said that when the scaffoldings were removed in the Cathedral of Bologna, Lodovico discovered some errors in the "Annunciation", which could not be remedied than and that his disappointment hastened his death. There are a few plates engraved by Lodovico from his own designs, in a masterly style. They are first etched and then finished with the graver. Though his school was influential in the education of artists his cousin Annibale exceeded him in fame and influence.
$#CELLINI, BENVENUTO
##Benvenuto Cellini 1500-1571
Benvenuto Cellini was born in Florence. The life of this great sculptor was full of change and incident. Very early in life he desired to be a sculptor, but his father was determined he should be a musician; and his first fifteen years were divided between the two pursuits. Then, against the will of his father, the son established himself with a goldsmith. His temper constantly led him into difficulties. Pope Clement VII employed him both as sculptor and musician. At one time he was under sentence of death from the Pope but was later pardoned. His life was a melodramatic mixture of violent quarrels, passion and betrayal. He became known to Michelangelo in Florence. By invitation of the Pope he went again to Rome, and was appointed engraver of the mint. He was later dismissed from this position, and then reinstated to it by the next Pope. Cosmo de' Medici gave him a studio in Florence where he began his celebrated "Perseus." He then went to Venice where he became acquainted with many distinguished artists. Returning to Florence he finished the "Perseus," which obtained such great honors for him that he made a pilgrimage to Vallombrosa and Camaddoli in order to express his gratitude. He was then employed on various important works, and contended with Bandinelli for the commission of a statue of Neptune. Catherine de' Medici wished him to go to France to erect a monument to her husband, but the Grand Duke required his services, and he left Italy no more. His "Perseus", in the Piazza del Gran Duca, Florence, established him as a foremost sculptor. He executed many portraits, and large numbers of dagger-hilts, medals, coins, clasps, etc. His works are not as numerous now as might be expected. One great reason for this is the fact that he often worked in the precious metals, and they have been destroyed for the sake of their intrinsic value, regardless of their merits as works of art. He wrote a treatise on his art, which is praised by Vasari. He died at Florence and was buried in the Annunziata with great pomp.
$#CORREGGIO, ANTONIO ALLEGRI DA
##Antonio Allegri da Correggio 1494-1534
Antonio Allegri da Correggio, so called from his birthplace, a little town near Modena, is an artist about whose youth and study is little known, although much has been said. He is considered to have been a pupil of Bianchi Ferraro at Modena, and later to have entered the studio of Costa and Francia at Bologna, but his early influence was that of Mantegna. He became one of the greatest Italian Masters of painting, and his best pictures were as much sought after as those of Raphael and Titian. He led a singularly quiet and restricted life, wholly separate from all competition with other masters of his time. Many of his notable religious paintings were executed in Parma, where he went by invitation. Afterward he returned to the little town where he was born, and died there. Though the style of Correggio had much influence upon the art of northern Italy, he does not seem to have had any very distinguished students. They all, striving to paint like their master, without possessing his genius, were unable to match his style well. Every important European gallery has examples of his work.
Characteristics.-- Correggio's subjects were religious and mythological; his composition quiet and simple, save in large church pictures, where it is somewhat conventional. Correggio was a worshiper of physical beauty, particularly that of women and children, and no one can study his pictures without feeling that, whatever the subjects, they were painted, first of all, to express this beauty. His goal was to portray charm, not character, causing him to be more closely allied to the Venetian School than to any other school (Giorgione and Titian). His figures always express joy; they are in motion, or just on the verge of it. In this grace of motion he surpasses all other masters. His chiaroscuro rivals that of Leonardo da Vinci. His flesh shadows are so transparent that one seems to look through them and see the very texture of the flesh. His color vies with the Venetian in beauty, but is more Ferrarese in pure, simple brilliance; he was very fond of a certain beautiful blue, which marks many of his pictures. His type of faces recalls that of Leonardo. He was no deep student of human nature. His women's hands are peculiarly beautiful, slender, and restless. His children's heads have usually an exaggerated forehead and an abundance of curly hair.
$#PIETRO DA CORTONA, (PIETRO BERRETTINI)
##Pietro Berrettini 1596-1669
Pietro da Cortona's work was marked by his fascination with classical antiquity, and his ability to infuse life into the flamboyant mythological world he created. Influenced by the work of Rubens and especially of Titian, Pietro adhered to the new Roman High Baroque; filling his work with passionate emotion and a new awareness of nature. The frescoes he painted for the Church of St. Bibiana in Rome brought him his first real fame; and he painted the ceiling of the Palazzo Barberini at the height of his powers from 1636-1639, in which he creates the marvellous illusion of celestial beings hovering in a vast open sky. He turned to architecture toward the end of his life, though in his vault of the nave in the Chiesa Nuova, he created a masterpiece of illusion which anticipates the work of Tiepolo.
$#CRESPI, GIUSEPPE MARIA (LO SPAGNUOLO)
##Giuseppe Maria Crespi 1665-1747
Crespi, known as "Lo Spagnuolo", was a pupil of Cignani and later of Burrini. He was influenced in his early work by the Bolognese Tradition, especially the work of Guercino and of Carracci. Some of his most important works include the frescoes in the Palazzo Pepoli Campogrande in Bologna, and such paintings as "The Girl with a Dove", "The Musician", and The Education of Achilles". His famous "Fair of Poggio a Caiano" reflects the influence of Dutch genre painting and his masterpiece is generally agreed to be a group of seven paintings, "The Sacraments".
$#FERRARI, GAUDENZIO (GAUDENZIO DI VINCIO)
##Gaudenzio Ferrari 1480-1546 ca.
Ferrari's works are numerous, evidence of his career in many small cities, ultimately becoming the leading painter in Milan. His works include frescoes at S. Maria delle Grazie, S. Maria della Pace, Milan, and S. Cristoforo, Vercelli. He had a vivid, realistic style, full of action and drama.
$#FETI OR FETTI, DOMENICO
##Domenico Feti 1589-1624 ca.
Domenico Feti was born in Rome and was a pupil of Ludovico Cardi. His coloring is powerful, and full of expression. He painted small pictures, and many of these illustrated the New Testament parables, which are among his best works and which brought him fame. His short career did not allow a large body of work, but it was expressive and vibrant, depicting a poetic if unquiet universe of myth and romance.
$#GENTILESCHI, ORAZIO LOMI
##Orazio Lomi Gentileschi 1563-1647
Orazio Gentileschi, a late mannerist, was born in Pisa. He knew and was inspired, particularly in his early style, by Caravaggio and never displayed more than a moderate naturalism in his work. He was invited to England by Charles I. Several of his pictures are now at Marlborough House. Van Dyck painted his portrait, which was engraved by Vorsterman. Gentileschi, Artemisia (1590-1642), was his daughter, and accompanied him to England, where she painted both portraits and other pictures, but she spent most of her life in Bologna and Naples. She was a friend of Guido and was admired. She exceeded her father in portraits. His brother Francesco was also an artist, who resided chiefly at Genoa where he painted for several churches.
$#GHIRLANDAIO, DOMENICO BIGORDI (IL GHIRLALNDAIO)
##Domenico Bigordi Ghirlandaio 1449-1494
Domenico Ghirlandaio. (Domenico di Tommaso Curradi di Doffo Bigordi) was born in Florence. It is said that his father was a goldsmith, who made such exquisite garlands for the hair that he was called Ghirlandaio (the garland-twiner), which name descended to his children. There are certain characteristics of Domenico's pictures which might result from a knowledge of the goldsmith's art, such as precision in drawing, the modelling of figures, and the arrangement of drapery. Ghirlandaio was said to be a pupil of Alessio Baldovinetti, and became a mosaicist and the most celebrated fresco painter of his generation. They plainly show the advance from his earlier to his best manner: he introduced in his pictures the portraits of celebrated and important personages of his time, and was original in many ways. His life is a landmark in the history of Florentine art. His special greatness is in composition. He preferred large spaces, and worked in the old system of tempera. His portrait figures were not the actors in the scene represented, but he placed them, generally, in detached groups. This gave a solemn effect, and are comparable in their relation to the picture, to the chorus in a Greek tragedy. In the technicalities of these fresco-painting he excelled, and his works were highly finished. Ghirlandaio was the master of Michelangelo. Very little is of the mosaics which he executed, although he called mosaic work "painting for eternity." Major works include "St. Jerome" and the "Last Supper" in the Church of Ognissnti, Florence, the frescoes in the Sala dei Gigli in the Palazzo Vecchio, and the "Adoration of the Magi" now in the Uffizi.
$#GIORGIONE, GIORGIO BARBARELLI
##Giorgio Barbarelli Giorgione 1477-1510 ca.
Giorgione, was born in Castelfranco. Little is known of his early life. He acquired the name Giorgione, meaning "Georgio the Great," (apparently a reference to his noble height), sometime after 1548. The Venetian traditions give the following: He was fond of pleasure, but never profligate, and his love of his art would not allow him long to neglect it. After being betrayed by his best friend and mistress, Giorgione fled from Venice, entered the army, and worked in decorative painting, and worked with Titian on the Fondacho dei Tedeschi, at Venice. His technique, unique in its effects of light and the stillness of his isolated figures, produced a romantic, poetic mood peculiarly his own. This new style would dominate Venetian art. He had a great influence upon Titian. If any of the frescoes of Giorgione remain in Venice, they are but parts of pictures. The dampness of the climate, fires, and the effect of time have effaced them. His pictures are rare, and it is difficult to give a list of them, for there have been so many differences of opinion among the best judges, concerning the genuineness of those assigned to him, that few remain upon which no doubt has been thrown. He painted few historical subjects. Among the works acknowledged as his, the first place should be given to an altar-piece in the Church at Castelfranco. It represents the "Virgin and Child between Saints Francis and Liberale."
$#GUERCINO, GIOVANNI FRANCESCO BARBIERI
##Giovanni Francesco Barbieri Guercino 1592-1666
Guercino, though not a direct pupil of the Carracci, was greatly influenced by their school. His pictures show animation and a brilliant color which is sometimes too heavy in the flesh shadows. His earlier works are strongest. In these his style, like that of Guido Reni, is realistic and marked by broad masses of shadow and small, clear lights. His works include the powerful "Martyrdom of St. Peter" (Modena), one of a series of altarpieces, "Aurora," the illusionistic fresco on the ceiling in the Villa Ludovisi in Rome, and "Guardian Angel" (Fano). He influenced the development of the Baroque in Rome.
$#LANFRANCO, GIOVANNI
##Giovanni Lanfranco 1582-1647
Giovanni Lanfranco was born in Parma and was one of the latest and most noticeable pupils of Agostino and later, Annibale Carracci. Among his best works were the cupola paintings of Santa Andrea della Valle in Rome and the Capella di S. Gennaro in Naples. Among his finest works are "Saint Louis Feeding the Poor", and the "Liberation of Saint Peter". He also executed a number of etchings in a masterly manner.
$#LIPPI, FILLIPPINO
##Filippino Lippi 1457-1504 ca.
Filippino Lippi, son of Fra Filippo Lippi and pupil of Botticelli, had the honor of having completed the series of frescoes in the Brancacci Chapel, Florence, begun by Masolino and carried on by Masaccio. He ranks with Botticelli and Ghirlandaio in importance.
Characteristics.--His works are noted for high sentiment, grace, and beauty, rather than for strength of conception or rendering. His early work in the Brancacci chapel resembles Masaccio's, while it is sometimes difficult to distinguish some of his later painting from that of Botticelli. His work lacked the nervous energy seen in much of Botticelli's work. His faces are particularly sweet in expression. He liked to embellish his figures, in easel pictures especially, with varied draperies, headdresses, etc. Major works include the "Adoration of the Magi," and "Scenes from the Life of Esther" (London), the "Altarpiece of the Virgin and Child Enthroned with Saints and a Donor," and the fresco cycle, "Scenes from the Lives of St. Philip and St. John the Evangelist" (Church of S. Maria Novella, Florence).
$#LIPPI, FRA' FILIPPO
##Fra Filippo Lippi 1406-1469
Lippi Fra Filippo, the painter to whose name so much of romance and scandal clings, was influenced by both Fra Angelico and Masaccio, and blended the ideal of one with the real of the other. A lay brother at the Carmelite Abbey in Florence, he ran away with a nun (whose marriage the Pope legalized subsequently), and had one son, Filippino, who also became a painter. He established his reputation with three works: the "Barbadori Altarpiece" (Louvre); the "Coronation of the Virgin" (Uffizi); and the "Annunciation" (S. Lorenzo which best illustrate his early Florentine style. One of the most original and personal of his works is the lyrical "Madonna and Child" (Uffizi).
Characteristics: His works are marked by a stately composition and fine, golden color. The faces he painted are short and broad, with very wide jaws, and are marked by a grave but decidedly youthful expression. His Madonnas usually wear a delicate, filmy headdress, which was an adornment of the Florentine ladies of his time. His angels are lusty, merry-faced boys.
$#LOTTO, LORENZO
##Lorenzo Lotto 1480-1556 ca.
Lorenzo Lotto was an unconventional painter whose troubled, unsettled life was reflected in his numerous, monumental religious works and portraits. He was influenced in his early work by several artists, Giovanni Bellini and Antonello da Messina in particular, leading him toward a purely sixteenth century manner. His sense of color and poetry were his own, however, and the human quality of his portraits reflect a particular style of realism and penetrating psychological understanding. In the later years of his life his work began to display an awareness of Titian in the more restrained use of color and emphasis on shades and shadows. Among his great works are the "Madonna with St. Peter Martyr" (Washington D.C., N.G.), the "Mystic Marriage of St. Catherine" (Bergamo), "Agostino and Niccolo della Torre (London, N.G.), and the "Altarpiece of St. Nicolas in Glory" (Venice, Church of the Carmini). Lotto is considered one of the great masters of the High Renaissance, his genius evident in the poetry and style of his many works.
$#MANFREDI, BARTOLOMEO
##Bartolomeo Manfredi 1580-1620
Bartolomeo Manfredi was born at Mantua and little is known of his life. He was influenced early in his career by Caravaggio, and he continued to follow his master's style throughout his life. His subjects were bandits, gamesters, etc. His works are rare, and it is believed that many of them have been attributed to Caravaggio. A sense of coarseness and brutality is evident in his work, even in the mythological subjects. Though he achieved popularity and helped spread Caravaggism, he remains at best imitative of that great master.
$# MICHELANGELO,BUONARROTI
##Michelangelo Buonarroti 1475-1564
Michelangelo Buonarroti, who was born at Castel' Caprese near Arezzo in Tuscany, and was one of the world-masters of painting. He is distinguished as sculptor, painter, and architect, as well as engineer and poet. He studied in the workshop of Ghirlandaio. He soon distinguished himself from the other pupils of Ghirlandaio, and attracted the notice of that great patron of art, Lorenzo de' Medici, who gave him a home in his own palace and commissioned him to execute several pieces of sculpture. Here Michelangelo lived for four years, and was brought into contact with many of the greatest and most intellectual men of that time in Italy. The worth of such influence to the young man's life must have been incalculable. He became a diligent student of Masaccio's great frescoes in the Brancacci Chapel and also of the remains of ancient art in Florence. He gave himself up to study of anatomy more like a devotee than an ordinary student. Until 1503 Michelangelo is known (with the exception of a few small pictures) exclusively as a sculptor, but in this year he received the commission to enter the lists as a painter with Leonardo da Vinci. The cartoon made at this time brought him so much fame, that soon after he was summed by the order of Pope Julius II to execute the decoration of the vault in the Sistine Chapel, but eventually the project grew into the great series of frescoes which monumental undertaking became the master's most famous achievement. He was then so diffident of his own powers as a painter that, having consented, with great reluctance, to undertake the work, he sent for some of his old Florentine companions to paint the frescoes from his cartoons. Not satisfied with their work, however, he destroyed it all and painted the whole with his own hand. He loved sculpture best but it was the fresco paintings which gave him sufficient space for the representation of his mighty conceptions. In these, however, his is the painter-sculptor, not alone the painter, for his frescoes are full of sculptural qualities.
Characteristics.-- First of all, we must notice the greatness and essential poetry of his conception and style. His compositions differ from those of other masters in that each part seems complete in itself. He has placed magnificent figures side by side, and they have to do with each other yet the relative action is not in the least necessary to the full force of expression of the figures. He discarded draperies almost wholly, having had a passion for the representation of the nude human figure. Until the recent cleaning of the Sistine Chapel ceiling, art historians were divided between the opinion that Michelangelo was weak as a colorist, and that he deliberately used dull tones to emulate sculpture. The full, dazzling display of brilliant colors which the cleaning revealed has left both views untenable, and make necessary a new assessment of Michelangelo as a colorist. As a sculptor, Michelangelo's poetry and power are monumental. His great works of sculpture include his famous "David" (Florence), the exquisite "Pieta" for St. Peter's in Rome, the "Bacchus" (Florence), the "Slaves" (Louvre), and the "Moses." His painted works, in addition to the Sistine Chapel, include the "Doni Tondo" (Holy Family), (Uffizi), and the frescoes in Pope Paul III's chapel in the Vatican, including the "Conversion of St. Paul" and the "Crucifixion of St. Peter." In addition to his paintings and sculptures, Michelangelo left a number of drawings and architectural works in St. Peter's, the Farnese Palace, and the Church of S. Giovanni dei Fiorentini. From the unveiling of the Sistine Chapel ceiling, Michelangelo was considered the greatest living artist. Strangely, or perhaps due to his monumental greatness, he had no pupils or school, though his creative innovations were adapted into the work of his contemporaries. He stands like a colossus, as monumental an artist as was the nature of his work.
$#PALMA, JACOPO NEGRETI (IL GIOVANE)
##Jacopo Negreti Palma il Giovane 1544-1628
Jacopo Palma was called "il Giovane," and was considered the most important painter in Venice after the deaths of Tintoretto and Veronese. A number of his works represent nude, or half nude mythological figures in the midst of pleasing landscapes. His most important works are in the series in the Oratorio de Crociferi, Venice.
$#PALMA, JACOPO D'ANTONIO (IL VECCHIO)
##Palma il Vecchio, Jacopo d'Antonio Negreti 1480-1528 ca.
Palma il Vecchio, called "Il Vecchio," was born at Serina, near Bergamou. He was Bergamesque by birth and name, but Venetian in his manner of painting. He was fond of natural backgrounds and represented in them eternal summer. His female figures are his best works, with soft, richly blended tones, and elegant bearing. His fondness for a type of opulent and sensual beauty marked his work, influenced by Titian but lacking a sense of mystery and atmosphere inherent in the latter's works. We have no account of his having studied with any great master or of his being employed by the state, but he was patronized by the families of noble Venetians of Cornaro and Friuli. At the time of his death, he had no family but nephews and a niece, and was a member of the brotherhood of Saint Spirito, in whose vaults, at San Gregorio, at Venice, he desired to be buried. His pictures are numerous, and yet he left forty-four unfinished when he died.
$#PARMIGIANINO, GIROLAMO FRANCESCO MARIA MAZZOLA
##Girolamo Francesco Mazzola Parmigianino 1504-1540
Girolamo Francesco Mazzola, called "il Parmigianino," is one of the most noted of Correggio's followers. He began his career at the precocious age of fourteen, with "Baptism of Christ" (Berlin), and he went on to become on of the great masters of the mannerist style. His elongated and aristocratic figures are finished with elegance in a shifting, unreal space. His major works include the frescoes of S. Giovanni Evangelista, the frescoes of "Diana" in Fontanellato Castle, the "Marriage of St. Catherine" (Rome, Palazzo Doria), and the "Madonna of the Long Neck," (Uffizi).
$#PONTORMO, JACOPO (CARUCCI)
##Jacopo Carucci Pontormo 1494-1557
Jacopo Carucci Pontormo, who was named after the town of his birth, was a pupil of Andrea del Sarto, and so successfully imitated his master that his paintings often passed under his name. He was also influenced by Leonardo, and by Piero di Cosimo. Later, the drawing style of Michelangelo would become apparent in Pontormo's work as well. He was commissioned by Pope Leo X to help decorate the great entrance hall of the Villa at Poggio a Caiano. The lunette "Vertumnus and Pomona" is a masterpiece of the fantasy and elegance of Florentine Mannerism. Other major works include the "Supper at Emmaus" (Uffizi), the Altarpiece of the "Deposition" and frescoes of the "Annunciation" and the "Evangelists" (Church of S. Felicita, Florence), the "Visitation" in the Church of S. Michele (Florence), and a series of preparatory sketches for scenes from the "Fall," the "Flood" and the "Resurrection," (Uffizi), which display a force and dramatic tension beyond any contemporary works, and which resemble Michelangelo's frescoes in the Sistine Chapel in their breadth of vision.
$#PRETI, MATTIA (IL CAVALIER CALABRESE)
##Mattia Preti 1613-1699
Mattia Preti, called "Il Calabrese," born at Taverna, was one of the less important Naturalistic School followers. He was a pupil of Guercino. He chose gloomy subjects. His composition was copious, his design bold, and his use of heavy shadows very effective.
$#RAPHAEL OR RAFFAELLO, SANTI OR SANZIO DA URBINO
##Raphael (Raffaello) Santi da Urbino 1493-1520
Raphael or Raffaello Santi was born in Urbino. His first instructor was his father, Giovanni Santi, who was probably a pupil of Melozzo da Forli, and who was an excellent painter. Giovanni Santi's importance in this school has only been lately recognized. After his father's death, he entered the school of Perugino in Perugia, where he remained for several years. Raphael visited Florence in 1504, remaining four years, where he was brought into contact with the greatest art workers and masters of Italy. There his work took on the classicism of Leonardo, the young Michelangelo, and Fra Bartolommeo. The development of his mature style places him as one of the greatest painters of the Italian High Renaissance. In 1508 he settled in Rome, having gone there at the request of Pope Julius II, and lived and painted in that city until his early death. In studying the life and work of Raphael, we cannot separate the work from the man himself. He seems to have been from his childhood a seeker. All the individual traits of intellectual and moral life were admirably balanced in him. Although he may well be called an "Apostle of Beauty", the beauty he portrays seldom approaches the sensuous; it is a noble, intellectual, moral, spiritual beauty. From each of those great masters whose works he studied, he assimilated that which was highest and best, and thus formed a style peculiar to himself, expressed in serenity and balance. His works include grand decorative compositions, religious subjects and portraiture, and in each he is always the great master, ever struggling to attain his high ideal -- the perfection of beauty and truth.
Characteristics.-- We often hear the art of Raphael compared with that of Michelangelo, but there can be no real comparison between the two because they are so essentially opposed one to the other. The chief element of Michelangelo's painting is the portrayal of strength, of power; with Raphael, as with Greek art, the whole endeavor is to render a serene, harmonious beauty. Through Michelangelo's art we see the master's own prodigious personality; in Raphael's we feel the sum of all the highest influences to which he had been subjected. In Raphael's work the treatment was subordinate to the conception. He painted in three great styles: The first, Peruginesque, in which he imitated Perugino very closely; the second, Florentine, used very soon after he went to Florence while engaged in the study of Florentine art; and the third, Roman, used after he had been brought into close contact in Rome with Michelangelo. By far the larger number and the most important of his works are painted in the Roman Style. It is difficult to designate the special characteristics of Raphael's style, because it was so full of diverse influences. He gathered up all the elements of the High Renaissance and embodied them in himself. His work is marked by noble subjects, expressive composition, serene landscape backgrounds, clear drawing, true perspective, grace and naturalness of the human figure, beauty and gentleness of expression. His major works include the "Sistine Madonna" (Dresden), the "Virgin with the Fish" (Prado), and the great "Transfiguration" in the Vatican. Also in the Vatican are the series of rooms decorated by Raphael and his assistants, which include "Disputation of the Blessed Sacrament" and the "School of Athens."
$#RENI, GUIDO (IL GUIDO)
##Guido Reni 1575-1642
Guido Reni, was born in Bologna, the son of a professor of music. He began early to practice playing upon the flute, but soon chose to adopt the profession of a painter. His first instructor was Denis Calvaert, whom he left in order to enter the school of the Carracci, where he became the favorite of Ludovico, winning a public commission in competition with his master. Guido painted "Saint Benedetto in the Desert," for the Church of Santa Michele in Bosco. Some of Ludovico's finest works were in the same church, but that of Guido did not suffer by contrast. He went to Rome with Albano. His first picture painted there, the "Martyrdom of Saint Cecelia", won for him great praise. He gained a new triumph in his decoration for Paul V of the private chapel of Monte Cavallo. He returned to Bologna, where he painted several pictures in his native city, the most celebrated being the "Murder of the Innocents" for the Church of San Domenico. Paul V was anxious for his return to Rome, and when he went he was employed at Santa Maria Maggiore. His finest work in Rome, was the "Aurora" in the garden house of the Palazzo Rospigliosi. This is well known by the engravings of Morgen and Frey. After his work was finished at Santa Maria Maggiore, he returned to Bologna and was obliged to refuse many commissions, so great was the number he received. With the exception of Domenichino he is considered most worthy of the disciples of the Carracci. His style exalts the classical understanding of beauty.
$#RIBERA, JUSEPE (LO SPAGNOLETTA)
##Jusepe de Ribera 1590-1656 ca.
Jusepe Ribera, called "Lo Spagnoletto," was born in Xativa. It has been generally believed that he studied with Francisco Ribalta, but there is some doubt. He left for Italy while very young. There is a story that he was at Rome, living in extreme poverty. Clothed in rags, he lived on crusts, and spent his time in copying the frescoes he could see in the streets. He arrested the attention of a Cardinal who took him home and provided for his comfort. But Ribera found himself less inclined to work than before, and soon returned to his life in the street. The Cardinal, angry at this, called him an ungrateful little Spaniard and invited him to return to his house. When Ribera declared that he needed the spur of poverty to make him a good artist, the Cardinal admired his resolution, and the story being repeated attracted the attention of other artists to him, and he was called Il Spagnoletto. Though this may be only legend, his work certainly was imbued with violence and dramatic intensity, reflecting a hectic and unconventional lifestyle. He studied the works of Caravaggio, Raphael and the Carracci. He likewise visited Parma and Modena, and some of his works show the effect of the study of Correggio. After 1635, however, his tenebrist style changed considerably, showing a lighter palette and more freedom without sacrificing the monumentality and sometimes harsh realism of his earlier work. He achieved a more spiritual vision. Among his works are the "Martyrdom of St. Andrew" (Budapest), "Diogenese" (Dresden), the "Triumph of the Magdalene" (Madrid), and the "Adoration of the Shepherds" (Paris, Louvre). One of the greatest figures in Baroque art, Ribera had a considerable influence on artists both in Italy and in Spain.
$#ROMANINO, GIROLAMO (ROMANI OR IL ROMANINO)
##Girolamo Romanino 1484-1566 ca.
Girolamo Romanino was born in Rumano on the Serio. It is said that he first studied under Stefano Rizzi. Before 1510 he had begun to be an important painter. His style, essentially Giogionesque, developed marked individual modifications and characteristics. His imagination was fertile and fantastic, filling his work with the colorful and bizarre. Works include the Altarpiece (Padua Museum) and paintings in S. Giovanni Evangelista in Brescia.
$#SAVOLDO, GIOVANNI GIROLAMO
##Giovanni Girolamo Savoldo 1485-1548 ca.
Savoldo Giovanni Girolamo was born in Brescia. A Venetian painter, Savoldo was probably influenced most by Leonardo and Cima, his work reflecting the shapes and patterns of life characterized by the term "Lombard". His works include "Hermits" (Venice Academy), "The Shepherd" (Cotini, Florence), and "St. Jerome " (London N.G.).
$#SCHIAVONE, (ANDREA MELDOLLA)
##Andrea Schiavone 1527-1582 ca.
Andrea Schiavone (called Meldolla) was born in Dalmatia. He settled in Venice, became a follower of Titian, and a fine colorist. He helped bring the mannerist style to Venice. Among his works are the roundels on the San Marco Library ceiling, the adjacent "Philosophers," and the important "Adoration of the Magi". His pictures can be seen in good collections, and prized for their extraordinary power of color. He left several etchings, some from his own designs, and others after Parmigiano and other artists.
$#TINTORETTO, JACOPO ROBUSTI IL
##Jacopo Robusti Tintoretto 1518-1594
Tintoretto (Jacopo Robusti), was born in Venice and called Tintoretto (little dyer) from the trade of his father. According to perhaps a legendary story, he is said to have been at one time a pupil in the studio of Titian, who sent him home at the end of three days, saying that he "never would be anything but a dauber." Some writers have attributed this action to Titian's jealousy, but it is difficult to believe this to have been the case. It is likely, however, that it was due to a clash between a great master, and an independent, strong willed student. There, however, could have been few pupils in the studio who would have shown greater ability, judging from after results. Tintoretto is one of the boldest and most assured painters in the history of art. He was so rapid with his brush that he was called "Il Furioso" by his contemporaries. He painted in Venice through his long life. No such diversity of opinion has ever existed regarding the merit of any other painter. His work varied widely in quality. His ability, however, must be judged by his best, and this puts him unmistakably among the greatest, and most original of Venetian masters.
Characteristics.-- His subjects were mostly religious, mythological, and portrait. His inventive and dramatic power or representation was wonderful. He was a story-teller and loved to combine many incidents within one picture. His swift linear brush strokes and use of color reveal his inventive style, and he had an original mastery of large compositions. Among his many works (about 300 paintings), are "The Assumption" (Venice Church of the Jesuits), "The Last Supper" (Venice, S. Marcuola), "St. Mark Freeing a Slave" (Venice Academy), and scenes from the "Life of Christ" (S. Pocco). Some of his figures are the most headlong, the most impetuous in the world of art. This action is one of his most marked characteristics. He even makes his lights and shade a power in the movement of his pictures. His color is very variable; sometimes rivalling the richest productions of his school.
$#TITIAN, TIZANO VECELLI
##Titian 1488-1575
Titian (Tiziano Vecelli) was born in Cadore, among the Italian Alps, and would become the greatest painter of his time. He came to Venice as a boy, where he entered the studio of the Bellini brothers and became a pupil of Giovanni Bellini and a fellow-pupil of Giorgione, by whom he was more strongly influenced than by the master himself. Titian was a great colorist; he was great also in every technical quality necessary to the thorough furnishing of the artist. His art life was one of long triumph. Here fame, riches, friends, and honors crowded upon him. Kings and princes would have their portraits painted by no other hand. In his later work we find many classic or mythological themes, much portrait painting, and that style of fancy female figures that had its origin with him. He also painted some purely landscape pictures, a new art feature of this time.
Characteristics.-- Some critics find little of the spiritual ideal in Titian's work; he was, emphatically, the painter of humanity. In his religious pictures we find less of the effort to portray spiritual feeling; the picture seems to have been conceived more to represent a group of noble, tranquil, magnificently painted people. His church pictures were some of the most gorgeous in art. There were superb priestly robes, and princely costumes, and glowed with richest harmonies of color. His composition at its best is unsurpassed, for he composed everything in his picture, -- line, mass, color, light and shade, all in perfect balance. His handling was bold, free, and rapid; detail was wholly subordinated to general effect. His brilliant portraits were always courtly, dignified, high-bred men and women, and were rendered particularly attractive by the wonderful quality of breadth of color and light that fills the canvas. Among his many great works, may be included the frescoes of "The Miracles of St. Anthony" (Padua, Scuola del Santo), "Sacred and Profane Love" (Rome, Borghese), the Huge "Assumption Altarpiece (Venice, Frari), the famous "Venus of Urbino" (Venice, Academy), and the great "Ecce Homo" (Vienna, Museum of Art History). His landscapes were marked by the grand Alpine scenery amidst which he was born, and are often rendered impressive by clouds and storms.
$#VERONESE, PAOLO CALIARI
##Paolo Caliari Veronese 1528-1588
Paolo Veronese was born in Verona, the son of a sculptor, and pupil of Antonio Badile. He lived mostly in Venice, and is perhaps the most pure exponent of the Venetian school of painting, the middle member of the triade which included Titian and Tintoretto. What particularly distinguished him was the vitality and poetic feeling which he infused into his works. His gorgeous draperies, grand architecture, splendid vases and ornaments, varied costumes, and the representation of imposing scenes rendered his works most effective and masterly, and also earned for him the label "decorative". Even his religious pictures had all these features, and are admirable scenes of earthly pageantry. Some of his more serious subjects, however, are thrilling in their deep feeling and expression. Magnificent effect and the development of color and the figure seem to have been his chief aims. Major works include "Marriage at Cana" (Louvre), "Adoration of the Magi" (Dresden), "Christ Carrying the Cross" (N.Y., Frick), and the famous "Feast in the House of Levi" (Venice, Academy), which led to his appearance before the inquisition
$#GENTILESCHI, ARTEMISIA LOMI
##Artemisia Lomi Gentileschi 1597-1651 ca.
Artemisia studied with her father, painter Orazio Lomi Gentileschi, and also with Tassi. Her style was Caravaggesque, tending toward the extremes of tenebrism in some works. Artemisia traveled to London where she was influenced by van Dyck, her work becoming more painterly in style. Artemisia influenced the development of Neapolitan painting, with her vigorous forms and dramatic atmospheric light effects. She tended toward genre scenes, even in religious compositions. Major works include "Miracle of S. Carlo Boromeo" (Florence, Cecioni Collection), "David and Goliath" (Rome, Corsini Collection), "Lot and His Daughters" (Rome, Borghese), and her passionate and powerful "Judith and her servant woman with the head of Holophernes" (Florence, Pitti). $#DOLCI, CARLO (CARLINO)
##Carlo Dolci 1616-1686
Dolci's work ranged from portraits to religious and devotional subjects, all distinguished by his particular combination of precision and subtlety, and an exquisitely brilliant finish. Opinion is divided on this artist's quality. Some find his work characterized by excessive sweetness and self-conscious piety. This may have been due to his need to please his patrons who commissioned devotional paintings. His work also reflects vitality and originality, particularly his portraits at which he excelled.
$#SCHIDONI OR SCHIDONE, BARTOLOMEO
##Bartolomeo Schedoni 1580-1615 ca.
Bartolomeo Schedoni was born in Modea. Duke Ranuccio was his friend and patron, and he formed himself by study of Correggio and Caravaggio. Typical works show realistic, brilliantly colored figures, as in "The Entombment " (Parma, N.G.).
$#LONGHI,PIETRO FALCA
##Pietro Longhi (Falca) 1702-1785
Pietro Longhi was born in Venice in 1702. He began his education as an apprentice to Balestra. Together they painted frescos which were not totally successful. Shortly thereafter, Longhi travelled to Bologna and became one of Crespi's students. He changed his style and became a painter of small scenes showing the daily life of the people of Venice. Longhi painted all types of people, from the aristocrats and nobility to the peasants. Some of the earliest works by Longhi were a series of "Shepherds" and "Shepherdesses" (Rovigo, Massano Museum). This series shows the influence of Crespi, and features bright colors with cool lighting effects. The first dated work by Longhi, "The Concert" (1741). In 1756 he was elected to the Academy of Venice as one of its first members. Later he would go there as a teacher. During the 1750's Longhi again changed his style to be more like Crespi's, featuring quick brushstrokes and clear colors in the style of Rosalba Carriera. "The Life of a Lady", "The Presentation" and "The Pankcake Seller" are all paintings from this period. Longhi's style did not change again until the 1770's. At this point, his paintings showed an acute sense of reality with fantasy-like overtones. "Rhinoceros", hunting scenes such as "The Hunt in the Valley" and "The Arrival of the Lord of the Manor" are all examples from this period. The last part of Longhi's career produced some magnificent works such as "The Michiel Family" which shows his interest in the family. Longhi's works were numerous and many artists copied his style. Longhi's painting can be seen in London, New York, Oxford and Washington, D.C. The largest collection of Longhi's works are located in Venice at the Querini-Stampalia Gallery. Pietro Longhi died in Venice in 1785.
$#CARACCIOLO, GIOVANNI BATTISTA
Giovanni Battista Caracciolo 1570-1637 ca.
Giovanni Caracciolo, who was called Il Battistello, was the founder of the Neapolitan school of the 17th century and a brilliant Italian Baroque painter in the Caravaggesque style. Prior to Caravaggio's arrival in Rome in 1606, nothing can be definitely attributed to Caracciolo. "Christ Washing the Disciples' Feet" (now in Naples at the church of San Martino) is considered to be Caracciolo's finest work. His "Liberation of St. Peter" (1608-09) and "Seven Works of Mercy" (1607) were both painted for the Chiesa del Monte della Misericordia in Naples. Unlike Caravaggio, Caracciolo preferred working in fresco. Other works of Caracciolo are located in Berlin, Cambridge, Massachusetts, Hartford, Connecticut, St. Petersburg, Los Angeles, Palermo and Rome.
$#ANDREA DEL SARTO, ANDREA D'AGNOLO (CALLED)
##Andrea del Sarto 1486-1530
Andrea del Sarto was born in Florence in 1486, the son of a tailor. Andrea started as apprentice to a goldsmith, before becoming a student of Pietro di Cosimo. He was influenced greatly by Leonardo and Michelangelo, and has been called one of the two best of the Florentine painters, along with Fra Bartolomeo. Except for the period between 1518 and 1519, Andrea spent his career working in Florence. He painted in the Classic Florentine style. Most of Andrea's paintings were of religious subjects. He painted the frescos in the cloisters of the church of SS. Annunziata and the confraternity of the Scalzi. "The Madonna of the Harpies" (1517, now located in Florence at the Uffizi) and "A Young Man" (1520, now located in London at the National Gallery) are two of his most famous works. "The Birth of the Virgin" (1514) is another of his famous frescos. Andrea's personality was evident in his "Self-Portrait" (1486, now located at the Palazzo Pitti). Three of Andrea's pupils were Vasari, Pontormo and Rosso. Andrea was an excellent draftsman and colorist.
$#DOSSI,DOSSO (GIOVANNI DE LUTERO)
##Dosso Dossi 1490-1542 ca.
Dosso Dossi, whose given name was Giovanni di Lutero, was born in Ferrara in about 1490. Dossi has been called the last of the Ferrarese painters and was much influenced by Giorgione, Titian, and Raphael. He was a versatile artist, painting landscapes, mythologies, religious subjects and portraits. Most of Dossi's career was spent in Ferrara, though he visited Rome and Venice. Dossi was particularly skilled in his use of color and contrast.. "The Witches", "Madonna and the Saints", "Argonauts", and "Melissa" are all examples of Dossi's work. His most renowned work is "Circe".
