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 :. | Madonna and Child in Glory with Cherubim | Madonna del Libro | Last Communion of St.Jerome | Last miracle child revived by the Deacons Eugenius and Crescentius (mk36) | Our Lady of Angels with the two sub |
Related Artists:Samuel Kiss
1780-1819 Hungarian Samuel Kiss Gallery Eugene Grasset
Swiss-born French Art Nouveau Designer, 1845-1917
Born Eugene Samuel Grasset in Lausanne, Switzerland, his birth year is sometimes stated as 1841. He was raised in an artistic environment as the son of a cabinet designer maker and sculptor. He studied drawing under Francois-Louis David Bocion (1828-1890) and in 1861 went to Zurich to study architecture. After completing his education, he visited Egypt, an experience that would later be reflected in a number of his poster designs. He became an admirer of Japanese art which too influenced some of his creative designs. Between 1869 and 1870, Grasset worked as a painter and sculptor in Lausanne but moved to Paris in 1871 where he designed furniture fabrics and tapestries as well as ceramics and jewelry. His fine art decorative pieces were crafted from ivory, gold and other precious materials in unique combinations and his creations are considered a cornerstone of Art Nouveau motifs and patterns.
Grasset poster for Mark Twain Joan of ArcIn 1877 Eugene Grasset turned to graphic design, producing income-generating products such as postcards and eventually postage stamps for both France and Switzerland. However, it was poster art that quickly became his forte. Some of his works became part of the Maitres de l Affiche including his lithograph, Jeanne d Arc Sarah Bernhardt. In 1890, he designed the Semeuse logo used by the dictionary publishers, Editions Larousse.
With the growing popularity of French posters in the United States, Grasset was soon contacted by several American companies. In the 1880s, he did his first American commission and more success led to his cover design for the 1892 Christmas issue of Harper Magazine. In 1894 Grasset created The Wooly Horse and The Sun of Austerlitz for The Century Magazine to help advertise their serialized story on the life of Napoleon Bonaparte. The Wooly Horse image proved so popular that Louis Comfort Tiffany recreated it in stained glass. Grasset work for U.S. institutions helped pave the way for Art Nouveau to dominate American art.
At the end of the 19th century, Grasset was hired to teach design at Ecole Guerin and Ecole Estienne in Paris. Among his students were Maurice Pillard Verneuil, Augusto Giacometti, Paul Berthon and Otto Ernst Schmidt. At the Universal Exhibition of 1900 in Paris, the G. Peignot et Fils typefoundry, introduced the Grasset typeface, an Italic design Eugene Grasset created in 1898 for use on some of his posters.Auguste Rodin
French Sculptor, 1840-1917
.French sculptor. Insolvent and repeatedly rejected by the École des Beaux-Arts, he earned his living by doing decorative stonework. Not until his late 30s, after a trip to Italy, did he develop a personal style free of academic restraints and establish his reputation as a sculptor with The Age of Bronze (exhibited 1878), whose realism was so great that he was accused of forming its mold on a living person. His Gates of Hell, a bronze door commissioned in 1880 for a proposed Musee des Arts Decoratifs, remained unfinished at his death, but two of its many figures were the bases of his most famous images, The Thinker (1880) and The Kiss (1886). His portraits include monumental figures of Victor Hugo and Honore de Balzac. Though these and many other works caused controversy for their unconventionality, he was successful enough that he could establish a workshop where he executed only molds, leaving the casting of bronze and the carving of marble to assistants. To his sculpture he added book illustrations, etchings, and numerous drawings, mostly of female nudes.