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 :. | Psychic and angel | Madonna and Child | La fornarina or Portrait of a young woman | Hl. Georg im Kampf mit dem Drachen | Portrait of Duni |
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Edward Theodore Compton
(July 29 1849 - March 22 1921) was an English-born, German artist, illustrator and mountain climber. He is well-known for his paintings and drawings of alpine scenery, and as a mountaineer made 300 major ascents including no fewer than 27 first ascents. Compton was born in Stoke Newington in London, the son of Theodore Compton, an art-loving insurance agent, and grew up in a deeply religious Quaker household. He attended various art schools, including, for a time, the Royal Academy in London, but otherwise he was mainly self-taught in art.
Frederic Auguste Bartholdi
French Sculptor, 1834-1904,was a French sculptor. He is also known as Amilcar Hasenfratz, a pseudonym used for his paintings of Egyptian subjects, apparently because of concern that his work in another medium would distract from his sculpture. Born in Colmar, Alsace, Bartholdi went to Paris to further his studies in architecture as well as painting. Then he made a long trip to Egypt and Yemen, where he heard about the Suez project. He came back to his native city to become an architect. Bartholdi was a freemason, he was initiated on October 14, 1875 in the lodge LeAlsace-Lorraine, Grand Orient of France.
Francesco Zuccarelli
Italian 1702-1788 1788). Italian painter and draughtsman, active in England. Zuccarelli training began in Florence, where he engraved the frescoes by Andrea del Sarto in SS Annunziata. He then studied in Rome under Paolo Anesi and learnt figure drawing from Giovanni Maria Morandi (1622-1717), although in this he never acquired any great skill. His earliest recorded paintings were Mary Magdalene and St Jerome (both untraced), which he contributed to the exhibition of the feast of St Luke in Florence in 1729. He also painted portraits. Around 1730 he moved to Venice and began painting landscapes exclusively. His interest in this field may have led to his becoming acquainted with the Welsh landscape painter Richard Wilson in 1750-51. Wilson painted a lively portrait of him (1751; London, Tate) in exchange for one of Zuccarellis landscapes. Zuccarelli avoided both the topographical type of Venetian view developed by Canaletto and the stormier landscapes of Marco Ricci, adopting instead a decorative landscape style of idealized Italian countryside. His subject-matter was usually unspecific rather than recognizably historical, biblical or mythological. For example, in the early 1740s he executed six paintings purporting to be scenes from the story of Jacob, but the paintings themselves bear few references to it (e.g. Landscape with Two Seated Women Embracing, 1743; Windsor Castle, Berks, Royal Col.).