Italian Early Renaissance Painter, ca.1422-1492 Italian painter and theorist. His work is the embodiment of rational, calm, monumental painting in the Italian Early Renaissance, an age in which art and science were indissolubly linked through the writings of Leon Battista Alberti. Born two generations before Leonardo da Vinci, Piero was similarly interested in the scientific application of the recently discovered rules of perspective to narrative or devotional painting, especially in fresco, of which he was an imaginative master; and although he was less universally creative than Leonardo and worked in an earlier idiom, he was equally keen to experiment with painting technique. Piero was as adept at resolving problems in Euclid, whose modern rediscovery is largely due to him, as he was at creating serene, memorable figures, whose gestures are as telling and spare as those in the frescoes of Giotto or Masaccio. His tactile, gravely convincing figures are also indebted to the sculpture of Donatello, an equally attentive observer of Classical antiquity. In his best works, such as the frescoes in the Bacci Chapel in S Francesco, Arezzo, there is an ideal balance between his serene, classical compositions and the figures that inhabit them, the whole depicted in a distinctive and economical language. In his autograph works Piero was a perfectionist, creating precise, logical and light-filled images (although analysis of their perspective schemes shows that these were always subordinated to narrative effect). However, he often delegated important passages of works (e.g. the Arezzo frescoes) to an ordinary, even incompetent, assistant.   Related Paintings of Piero della Francesca :. | Portraits of Federico da Montefeltro and Battista Sforza | Details of St.Simon the apostle | Saint Mary Magdalen | Death of Adam | Polyptych of the Misericordia |
Related Artists:
John Charles Dollman
British, 1851-1934, He was an English painter and illustrator. Dollman was born in Hove on 6 May 1851 and moved to London to study at South Kensington and the Royal Academy Schools, after which he set up a studio at Bedford Park, London. He exhibited at the Royal Academy from 1870 to 1912, and was elected RWS (Member of the Royal Watercolour Society) in 1913. Dollman was also an illustrator, working in black and white or colour for magazines such as the Graphic during and after the 1880s. Some of his early work has been said to have influenced Van Gogh . A central theme was ambitious mythological pictures such as a Viking Foray, a Viking horde entitled the Ravagers, The Unknown (1912), featuring a girl surrounded by chimps and Orpheus and his Lute with Lions. He also produced bold compositions of animals and people such as Robinson Crusoe and His Man Friday, Polo and Mowgli made leader of the Bandar-log (1903) . His best known work is possibly A London Cab Stand (1888) , focussing on a group of horses in a stormy scene . He composed at least three variants of this picture, and there are other instances where he made copies or near-copies of individual pictures. In the 1890s he painted pictures of soldiers, and some less well regarded genre pictures of people with animals. He also painted wild animal pictures without attempting any narrative content . Dollman's works are in the collections of various galleries. The Immigrants' Ship (1884) is in the Art Gallery of South Australia, Adelaide . 'The Ravager' is owned by the Trustees of the Royal Watercolour Society, London, [8]. A version of The Unknown is in the Laing Art Gallery, Newcastle. A London Cab Stand is in the London Museum. A Dog's Home, Table d'Hote (1879) is in the Walker Art Gallery, Liverpool , and During the Time of the Sermonses (1896), an odd picture of a pair of religious people approaching two golfers, is in the collection of the Harris Museum, Preston , while 'Famine' (1904) is at the Salford Museum and Art Gallery Dollman died on 11 December 1934, aged 83.
BABUREN, Dirck van
Dutch Baroque Era Painter, 1595-1624 1624). Dutch painter. His father, Jasper van Baburen (d ?1599), had been in the service of Geertruijd van Bronckhorst van Battenburg, Baroness (vrijvrouw) of Vianen, Viscountess (burggravin) of Utrecht, and thus Dirck must have received a better than average education, a fact at least partially confirmed by the innovative and often literary nature of his subject-matter. In 1611 he is recorded as a pupil of the portrait and history painter Paulus Moreelse in Utrecht. It is likely that this was the last year of his apprenticeship. Van Baburen probably left for Italy shortly after 1611, for a document rediscovered in the late 1980s records a signed and dated altarpiece of the Martyrdom of St Sebastian (1615; untraced), executed for a church in Parma. His most important pictures made in Italy were painted in collaboration with David de Haen (d 1622) for the Piet? Chapel of S Pietro in Montorio, Rome, which was decorated between 1615 and 1620. Van Baburen's paintings for the chapel were mentioned by Giulio Mancini in his manuscript notes, Considerazioni sulla pittura (c. 1619-20); there Mancini claims the artist was 22 or 23 years old when he carried out the commission. One of his best-known works, the Entombment (formerly dated 1617), is still in situ on the altar of the chapel. This much-copied composition reveals van Baburen's close study of Caravaggio's famous Entombment (Rome, Pin. Vaticana). In 1619 and the spring of 1620 van Baburen and de Haen were recorded as living in the same house in the Roman parish of S Andrea delle Fratte. Caravaggio's close follower and presumed student, Bartolomeo Manfredi, was living in the same parish in 1619. Van Baburen must have known the works of Manfredi.
Edward Bower
floruit 1635-1667