Georges Jansoone
George Jamesone (or Jameson) (c. 1587-1644) was Scotland's first eminent portrait-painter.
He was born in Aberdeen, where his father, Andrew Jamesone, was a stonemason. Jamesone attended the grammar school near his home on Schoolhill and is thought to have gone on to further education at Marischal College. Legend has it that Jamesone once studied under Rubens in Antwerp with Anthony van Dyck. However, this is yet to be proven as his name does not appear to be noted in the Guild registers of the town. However, considering that Rubens was exempt from registering pupils; this does not mean that the painter definitely did not study there. Jamesone certainly did complete an apprenticeship under the supervision of his uncle, John Anderson, who was a popular decorative painter in Edinburgh at the beginning of the seventeenth century. Jamesone finished this training in 1618. He is not recorded as being in Aberdeen again until 1620. If the Scotsman had gone to Antwerp, it would have had to have been between the years of 1618 to 1620. Related Paintings of Georges Jansoone :. | Gloomy fronts | Gloomy front with lady in green | Still life with flowers | The Gravensteen in Ghent | Dunes and sea | Related Artists: Prellwitz, Edith MitchellAmerican, 1865-1944 Lefebvre, Jules JosephFrench, 1834-1912 Alessandro Bonvicino(c. 1498 - December 22, 1554), more commonly known as Il Moretto da Brescia, was an Italian Renaissance painter of Brescia and Venice.
He was born at Rovato, in Brescian territory, and studied first under Fioravante Ferramola. Others state he trained with Vincenzo Foppa. His brothers Pietro and Jacopo were also painters. The 1911 Britannica claims he apprenticed with Titian in Venice and that Moretto modelled his earlier portrait-painting style on the Venetian style. On the other hand, the style also resembles that of Giorgione or late Bellini. The 1911 Britannica also states that he conceived a great enthusiasm for Raphael, though he never traveled to Rome; on the other hand, his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as, for example, Bramantino. He may have consulted with his contemporary Girolamo Savoldo.
Moretto excelled more in sedate altarpieces than in narrative action, and more in oil-painting than in fresco, although he painted fine frescoes depicting the lollygagging daughters of Count Martinengo in one of the palaces near Brescia. In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the old cathedral of Brescia, where Moretto completed a Last Supper, Elijah in the Desert, and a Fall of Manna.He was active during 1522-24 in Padua.
He painted alongside with Lorenzo Lotto at Santa Maria Maggiore in Brescia. Also in Brescia, he completed a Five Virgin Martyrs and his masterpiece, the Assumption of the Madonna for the church of San Clemente; a Coronation of the Madonna with four saints (c. 1525) for the church of Santi Nazaro e Celso; a St. Joseph for Santa Maria della Grazie; and a St Nicholas of Ban for Santa Maria de Miracoli. He collaborated with Floriano Ferramola in the decoration of the dome of the cathedral in Brescia.
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