Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,   Related Paintings of RAFFAELLO Sanzio :. | Heal foot | Madonna and Child with the Infant St John | Portrait of younger woman | Georg im Kampf mit dem Drachen | Portrait of a Youth |
Related Artists:
Hans Memling
Netherlandish Northern Renaissance Painter, ca.1435-1494 Born in Seligenstadt, near Frankfurt in the Middle Rhein region, it is believed that Memling served his apprenticeship at Mainz or Cologne, and later worked in the Netherlands under Rogier van der Weyden (c. 1455?C1460). He then went to Bruges around 1465. There is an apocryphical story that he was a wounded at the Battle of Nancy, sheltered and cured by the Hospitallers at Bruges, and that to show his gratitude he refused payment for a picture he had painted for them. Memling did indeed paint for the Hospitallers, but he painted several pictures for them, in 1479 and 1480, and it is likely that he was known to his patrons of St John, prior to the Battle of Nancy. Memling is connected with military operations only in a distant sense. His name appears on a list of subscribers to the loan which was raised by Maximilian I of Austria, to defend against hostilities towards France in 1480. In 1477, when he was incorrectly claimed to have been killed, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, under the name of the Seven Griefs of Mary, is now in the Gallery of Turin. It is one of the fine creations of his more mature period. It is not inferior in any way to those of 1479 in the hospital of St. John, which for their part are hardly less interesting as illustrative of the master's power than The Last Judgment which can be found since the 1470s in the St. Mary's Church, Gda??sk. Critical opinion has been unanimous in assigning this altarpiece to Memling. This affirms that Memling was a resident and a skilled artist at Bruges in 1473; for the Last Judgment was undoubtedly painted and sold to a merchant at Bruges, who shipped it there on board of a vessel bound to the Mediterranean, which was captured by Danzig privateer Paul Beneke in that very year. This purchase of his pictures by an agent of the Medici demonstrates that he had a considerable reputation.
Manuel Cabral Y Aguado Bejarano
Spanish , 1827-1891
Nicolaes Eliaszoon Pickenoy
(10 January 1588 - 1653/1656) was a Dutch painter of Flemish origin. Pickenoy was possibly a pupil of Cornelis van der Voort and presumably Bartholomeus van der Helst was his own pupil. He was the son of the Antwerp monumental mason Elias Claeszoon Pickenoy (1565-1640) and Heijltje Laurens s'Jonge (1562-1638), who emigrated to Amsterdam before Nicolaes Pickenoy was born. In 1621, living near the Oude Kerk, he married Levijntje Bouwens (1599-na 1656), an orphan of 21 years. They had ten children: Sara and Elias died young. Pickenoy painted large Schuttersstukken, group portraits of the regents of the orphanage, and individual portraits of local or national celebrities like Nicolaes Tulp, Cornelis de Graeff, Maarten Harpertszoon Tromp and Jochem Hendrickszoon Swartenhont, Elisabeth Bas's husband. The earliest picture ascribed to the artist is "Dr. Sebastiaen Egbertz de Vrij's Osteological Presentation" of 1619, now in Amsterdam Historisch Museum. His heyday was ca. 1630-1637, a period marked by a high artistic level and numerous commissions from prominent patrons. After 1637 he painted little, save for a number of prestigiouseand lucrativeegroup portraits. Besides portraits, he also painted a small number of biblical subjects, one of which can be seen in the Museum Catharijneconvent. The Rijksmuseum Amsterdam and Amsterdams Historisch Museum holds many of his best works, not least the Schutterstukken or militia paintings. In 1637 he bought from Adriaen Pauw the house on the corner of Sint Anthoniessluis and Jodenbreestraat, a fashionable area with many painters, art dealers, jewellers and so on. The house had previously been owned by his supposed master, Cornelis van der Voort, and later by Hendrick van Uylenburgh. During the years 1631-1634 the latter was collaborating with Rembrandt van Rijn, who painted numerous portraits for Van Uylenburgh's art business. Thus the house Pickenoy purchased had been a centre of Amsterdam portraiture for decades. In 1639 Rembrandt returned to the neighbourhood as he bought the house next to Pickenoys, the present day Rembrandthuis. Rembrandt could leave his house via an exit onto the Zwanenburgwal under the house of his neighbor Pickenoy. He brought out Night Watchepainted in his courtyarderolled up through the tunnel. Like Rembrandt, Pickenoy was not able to bring up the loan and so after eight years he sold the house. The work of Pickenoy is difficult to distinguish from that of some of his contemporaries. Typical of Pickenoy are the fiercely invading light that makes the heads stand out sharply, the somewhat exaggerated gestures, the large greenish brown shadows and the odd-shaped eyes.