b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.  Related Paintings of Andrea del Sarto :. | Salin-day Saints mysterious marriage | St John the Baptist | Madonna and Child with SS.Francis and John the Baptist | Portrait of the Artist s Wife | Glory of Virgin Mary and four Christ |
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Adriaen van der werff
Dutch Baroque Era Painter, 1659-1722 Dutch painter and draughtsman. He was apprenticed to the portrait painter Cornelis Picolet (1626-79) from 1668 to 1670 and then from c.1671 to 1676 to Eglon van der Neer in Rotterdam. From 1676 van der Werff produced small portraits and genre paintings as an independent master; the Cook and Hunter at a Window (1678; New York, priv. col.; see Gaethgens, no. 2) and Man and Woman Seated at a Table (1678; St Petersburg, Hermitage) perpetuate the thematic and stylistic traditions of Gerrit Dou, Gabriel Metsu, Frans van Mieris and Gerard ter Borch (ii) but are distinguished by their greater elegance and richness of costume and interior. Van der Werff's portraits date mainly from the years 1680-95 (e.g. Two Children with a Guinea-pig and a Kitten (1681; London, Buckingham Pal., Royal Col.)). The motif of children with animals recalls van der Neer, while the careful depiction of fabrics recalls the Leiden school of 'Fine' painters. His Portrait of a Man in a Quilted Gown (1685; London, N.G.) resembles compositions by Caspar Netscher and Nicolaes Maes: a figure leaning against a balustrade, before a landscape. Van der Werff's work is, however, more elegant, in part because of the depiction of fabrics
BERRUGUETE, Pedro
Spanish Early Renaissance Painter, ca.1450-1504 Pedro Berruguete (c. 1450 ?C 1504) was a Spanish painter, his art is regarded as a transitional style between gothic and renaissance. Born in Paredes de Nava, Spain, he went to Italy in 1480 and worked in Federigo da Montefeltro's court in Urbino. He came back Spain 1482 and painted in several cities as Sevilla, Toledo and Ávila. He was father of an important sculptor, Alonso Berruguete, considered the most important sculptor in Renaissance Spain.
Ayne Bru
Ayne (Aine) Bru (probably a Catalanization of Hans Bren) was a 16th century Renaissance painter of German origin who worked in Catalonia. He may have proceeded from Lummen, in the Duchy of Brabant. He is sometimes also called Lucius de Brun. His surname may also suggest provenance from the town of Brenn. In 1502, he was hired to paint the main altar (retablo) in the church of the monastery of Sant Cugat del Valles, for which he was paid a staggering wage between 1504 and 1507. On the central panel, Bru depicted the martyrdom of Saint Cucuphas (in Catalan, Sant Cugat) with enormous realism. The executioner cuts the saint's throat while Cucuphas remains tied to a tree trunk. Nearby, there appear another knife (in a basket) and a dog sleeping peacefully. This work is now at the National Art Museum of Catalonia (Museu Nacional d'Art de Catalunya). The dog from Bru's painting of Cucuphas' martyrdom was later borrowed by Salvador Dale for a painting called "Dale Contemplating Nude" or "Dale Dale Dale". The vast countryside that serves as a background anachronistically includes the actual monastery of Sant Cugat. Another panel, depicting Saint George (sometimes identified as Saint Candidus or simply as "Warrior Saint"), was attached to this one. It has been rejoined and is visible at the National Art Museum of Catalonia. Marcel Durliat believes that though the expressionism in this painting is evidence of a Germanic artistic tradition, Bru's Quattrocento depiction of the standing figures in contemporary dress, as well as other details, indicate that the painter may have lived or studied in Northern Italy before moving to Barcelona.