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 :. | Two angle | Angel and christ in detail | The Annunciation | Lida and the Swan | Carpenter glass portrait |
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Philip James de Loutherbourg
1740-1812 French (Resident in UK) Philip James de Loutherbourg Gallery Philip James de Loutherbourg, also seen as Philippe-Jacques and Philipp Jakob and with the appellation the Younger (31 October 1740 ?C 11 March 1812) was an English artist of French origin. He was born in Strasbourg, where his father, the representative of a Polish family, practised miniature painting; but he spent the greater part of his life in London, where he was naturalized, and exerted a considerable influence on the scenery of the English stage, as well as on the artists of the following generation. De Loutherbourg was intended for the Lutheran ministry, and was educated at the University of Strasbourg. As the calling, however, was foreign to his nature, he insisted on being a painter, and placed himself under Charles-Andr?? van Loo in Paris. The result was an immediate and precocious development of his powers, and he became a figure in the fashionable society of that day. In 1767 he was elected into the French Academy below the age required by the law of the institution, and painted landscapes, sea storms, battles, all of which had a celebrity above those of the specialists then working in Paris. His debut was made by the exhibition of twelve pictures, including Storm at Sunset, Night, Morning after Rain. He is next found travelling in Switzerland, Germany and Italy, distinguishing himself as much by mechanical inventions as by painting. One of these, showing quite new effects produced in a model theatre, was the wonder of the day. The exhibition of lights behind canvas representing the moon and stars, the illusory appearance of running water produced by clear blue sheets of metal and gauze, with loose threads of silver, and so on, were his devices. In 1771 he came to London, and was employed by David Garrick, who offered him £500 a year to apply his inventions to Drury Lane, and to superintend the scene-painting, which he did with complete success, making a new era in the adjuncts of the stage. Garrick's own piece, the Christmas Tale, and the pantomime, 1781-1782, introduced the novelties to the public, and the delight not only of the masses, but of Reynolds and the artists, was unbounded. The green trees gradually became russet, the moon rose and lit the edges of passing clouds, and all the world was captivated by effects we now take little notice of. A still greater triumph awaited him on his opening an entertainment called the Eidophusikon, which showed the rise, progress and result of a storm at sea that which destroyed the great Indiaman, the Halsewell,and the Fallen Angels raising the Palace of Pandemonium. De Loutherbourg has been called the inventor of the panorama, but this honor does not belong to him, although it first appeared about the same time as the eidophusicon. The first panorama was painted and exhibited by Scottish painter Robert Barker.