Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.   Related Paintings of GIOTTO di Bondone :. | Marriage at Cana | Miracle of the Crucifix | Madonna in Maesta | Feast of Herod | Allegory of Chastity |
Related Artists:
Pieter de Kempener
Pedro Campana (1503-1586) was a Flemish painter of the Renaissance period, mainly active in Italy and Spain. His actual name was Pieter de Kempeneer, translated into French as Champaigne, and was also known as Peter Van de Velde. Born in Brussels, he trained there with Bernard Van Orley. His early life appears to have been spent in Italy, where he carefully studied the paintings of Raphael, and declared himself as his pupil. In 1530 he was at work at some scene-painting, representing a triumphal arch to be erected on the occasion of the coronation of Charles V, Holy Roman Emperor in Bologna, and he then left for Spain, on the advice, it is said, of Cardinal Domenico Grimani, and spent the rest of his life in that country, only returning to Brussels about 1563 or 1565. Between 1537 and 1562 he was associated with Luis de Vargas and the Italian sculptor Torregiano in establishing a school of painting in Seville, which eventually became the academy of the place; amongst the pupils educated in it was Morales. He painted for the monastery of St. Mary of Grace, Church of Santa Cruz, in the city, an altar-piece representing the Descent from the Cross (1548), which is now in the cathedral, having been removed there when the church fell into ruins. There are other works by the same painter in Seville Cathedral, especially two representing the Purification of the Virgin and the Resurrection; and the various churches of the city, S. Isidoro, S. Pedro, S. Catalina, and S. Juan, all possess paintings by this artist. One of his last works was the restoration and repainting of a chapel belonging to Hernando de Jaen, an important resident of Seville. Murillo requested that he be buried near Campana's picture, and his burial took place in the Church of Santa Cruz, close underneath the Descent from the Cross, but the whole building was burned to the ground during the Napoleonic Wars, and the tomb perished.
Giovanni Battista Paggi
Italian Baroque Era Painter, 1554-1627 Italian painter and theorist. As the son of a newly inscribed nobleman, he received a Renaissance gentleman's education, but as an artist he was it seems self-taught, despite the encouragement of Luca Cambiaso. The gentleman who then set up as a painter was obliged to give his work to patrons, sometimes expecting future remuneration; but when one patron reneged on payment in 1581, Paggi mortally wounded him and was banished from Genoa. He was given protection by Francesco I de' Medici, Grand Duke of Tuscany, and settled in Florence. A fresco of St Catherine Converting Two Criminals (1582), painted for Niccol? Gaddi's family chapel at S Maria Novella and thoroughly Florentine in manner, established Paggi's reputation at the Medici court. He painted ephemeral decorations, portraits (all untraced) and altarpieces for many Florentine churches and for the cathedrals of San Gimignano (c. 1590), Pistoia (1591-3) and Lucca (1597-8), having his studio in a house owned by Federico Zuccaro.
Vicente Palmaroli Gonzalez
1834-1896 Spanish Vicente Palmaroli Gonzalez Gallery His father was the Italian lithographer, Gaetano Palmaroli and he studied in San Fernando's Royal Academy. He later went to Rome in 1857 to complete his training, and he lived there until 1866. One year later, he went to the Paris World's Fair of 1867. He met Ernest Meissonier, who influenced his later works. He was academician in San Fernando's Royal Academy, and director in the Spanish Academy in Rome and Prado Museum (1893-1896).