Italian Early Renaissance Painter, 1445-1510
Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s Related Paintings of Sandro Botticelli :. | Stories of Lucretia | Stories of Lucretia | Primavera-Spring | Portrait of Giuliano de'Medici (mk36) | Gentile da Fabriano,Adoration of the Magi (mk36) |
Related Artists:Francesco Morone
Italian Painter, 1471-ca.1529
was an Italian painter, active in Verona in a Renaissance style. He was the son of the Veronese painter Domenico Morone. The art biographer Vasari praised his frescoes (1505-7) for the cupola of the sacristy in Santa Maria in Organo. He also painted the organ shutters in that church. Paolo Cavazzola was one of his pupils. Jakob Alt
Jakob Wassermann was born on March 10, 1873, in Furth, the son of a Jewish merchant. After a childhood with many restrictions, he began his career as an office clerk, in Munich and then in Freiburg. In 1898 he moved to Vienna and eventually established himself as a writer. Derivative and imitative, Wassermanns novels showed from the outset a strong dependence upon Fyodor Dostoevsky - particularly in his fondness for the psychological probing of criminals and social outcasts - as well as the influence of the master of the romantic horror and detective story, E. T. A. Hoffmann.
Wassermanns first significant work is Die Juden von Zirndorf (1897, The Jews of Zirndorf), in which his deep knowledge of his own community in F??rth and Nuremberg stands him in good stead. As in many of his other works, Wassermanns preoccupation with innocence and redemption is here interleaved with a somewhat crass depiction of depravity and superstition. Der Moloch (1902) pays tribute to the contemporary literary cult of the great city (here Vienna), seen as an all-devouring monster of sin and perversion. Caspar Hauser (1908) is probably the authors best novel; the book, based on fact, deals with the case of the mute youth who appeared one day in 1828 on the streets of Nuremberg. Resemblances to Dostoevskys The Idiot may also be noted in this tale of the rejection and contamination of innate purity by corrupt society.
After Caspar Hauser Wassermanns novels and short stories become increasingly preoccupied with bizarre and perverse anecdotes and intrigue, often initially drawn from biography or the newspapers. Das Gansemannchen (1915; The Goose Man) illuminates the problem involved in simultaneous cohabitation with two wives. Christian Wahnschaffe (1919) exploits the theme of the rich mans son who rejects the world to turn toward Buddhism. Der Fall Maurizius (1928, The Mauritius Case) is a type of detective novel made colorful by excursions into hypnosis but also weighed down by a tedious mass of psychological dissection. Like Honor?? de Balzac, whom he imitated, Wassermann introduces the same characters into different novels; thus Etzel Andergast (1931) is a sequel to The Mauritius Case, and its hero, Joseph Kerkhoven, reappears in Joseph Kerkhovens dritte Existenz (1934, Joseph Kerkhovens Third Existence).
Wassermann is a somewhat uneven and labored writer, and he cannot in any sense be considered a stylist. His novels are often marred by diffuseness and miasmic obscurity. At the same time his extensive output is of considerable historical interest and illuminates rather well the consequences of marriage between the new depth psychology and the popular novel of sensation and crime. He died on Jan. 1, 1934, in Alt-Aussee.Josefa of Ayala
1630-1684,Portuguese painter and engraver. She was the daughter of the Portuguese painter Baltazar Gomes Figueira (1597-1674) and a Spanish lady, Doea Catarina de Ayala y Cabrera. After the restoration of the Portuguese monarchy in 1640 the family moved to Coimbra. Here Josefa began her apprenticeship under her father, a painter of landscapes, still-lifes and religious works, who in 1644 painted the retable of Nossa Senhora da Graea, Coimbra, in the naturalist-tenebrist style he had learnt in Seville in the circles of Juan del Castillo,