Italian Painter, known ca.1500-1540  Related Paintings of GIAMPIETRINO :. | Diana the Huntress | Salome | Salome | Leda and her Children | Salome |
Related Artists:
Claude Joseph Vernet
Claude-Joseph Vernet (14 August 1714 - 3 December 1789) was a French painter. His son, Antoine Charles Horace Vernet, was also a painter. Vernet was born in Avignon. When only fourteen years of age he aided his father, Antoine Vernet (1689-1753),[1] a skilled decorative painter, in the most important parts of his work. The panels of sedan chairs, however, could not satisfy his ambition, and Vernet started for Rome. The sight of the sea at Marseilles and his voyage thence to Civitavecchia (Papal States' main port on the Tyrrhenian Sea) made a deep impression on him, and immediately after his arrival he entered the studio of a marine painter, Bernardino Fergioni. Slowly Vernet attracted notice in the artistic milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of natural effects of atmosphere, which he rendered with unusual pictorial art. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome. Vernet's work draws on natural themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative.[2] "Others may know better", he said, with just pride, "how to paint the sky, the earth, the ocean; no one knows better than I how to paint a picture". His style remained relatively static throughout his life. His works' attentiveness to atmospheric effects is combined with a sense of harmony that is reminiscent of Claude Lorrain.
VELAZQUEZ, Diego Rodriguez de Silva y
Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork.
MEMLING, Hans
Netherlandish Northern Renaissance Painter, ca.1435-1494 South Netherlandish painter of German origin. Together with Dieric Bouts I and Hugo van der Goes, he was one of the most important exponents of the new artistic developments that flourished in the southern Netherlands in the 15th century in the wake of Jan van Eyck, the Master of Fl?malle and Rogier van der Weyden. Their principal innovation was to apply optic realism to devotional or mystical subjects. Although Memling lived in the turbulent period of transition from the Burgundian ruling house to that of the Habsburgs, little of this is evident in his work. His commissions were almost exclusively from rich burghers in Bruges (bankers, merchants and politicians) or churchmen and the occasional aristocrat. Often they were foreigners, especially Italians, who had political or financial connections with the town, whose central economic position was to last only a few decades longer. They had Memling paint their portraits, bust or full length, in devotional paintings or on altarpieces for their chapel in Bruges or back home. He seems not to have received official commissions (from the town council or court). An exceptional proportion of this oeuvre has survived. Besides about 20 altarpieces, often in several panels and of considerable size,