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 :. | Last miracle:child revived by the Deacons Eugenius and Crescentius | Details of Primavera (mk36) | Cristofano dell'Altissimo,Portrait of Marsilio Ficino | Discovery of the Body of Holofernes | St. Augustine |
Related Artists:John Quidor
Quidor was born in Gloucester Co., N. J., and in 1826 moved to New York City where he studied painting under John Wesley Jarvis and Henry Inman. Afterward he lived on a farm near Quincy, Illinois, but returned to New York City in 1851. He was obliged to support himself by painting the panels of stage coaches and fire engines and died in abject poverty.
Although Quidor was little appreciated in his own time, after his death he was accorded a place among the best early American artists. His paintings establish a mysterious romantic setting for scenes in which he mingled macabre elements with an earthy humor. Many of his works, such as Ichabod Crane Pursued by the Headless Horseman, in the Smithsonian American Art Museum, were inspired by the writings of Washington Irving, who was a personal friend. Irving's A History of New York gave Quidor the subjects for the four paintings in the Brooklyn (N. Y.) Institute: Dancing on the Battery (c. 1860), Peter Stuyvesant's Wall Street Gate (1864), Voyage of the Good Oloff up the Hudson (1866), and The Voyage from Communipaw to Hell Gate (1866). These show Quidor's characteristic mellow and harmonious color, poetic imagination, and naïve humor.
He is represented in the Brooklyn Museum by three paintings: Dorothea, Money Diggers, and Wolfert's Will. He also painted religious subjects such as Jesus Blessing the Sick.Giovanni da san giovanni
Italian painter and draughtman. He was the most distinguished of the artists working in fresco in 17th-century Florence. An eccentric personality, he was attracted by the charm and informality of northern art and by a satirical approach to Classical themes. He went to Florence in 1608 to study in the workshop of Matteo Rosselli, where he learnt both fresco and oil painting techniques and drew extensively (Baldinucci). In 1615 he painted two ceiling canvases of Putti Supporting the Impresa of Michelangelo for a room in the Casa Buonarroti and in the same period frescoed the dome of the church of the Ognissanti, Florence (completed 1615), with a choir of musician angels. He also painted five lunettes showing scenes from the Life of St Francis in the cloister (completed 1619; in situ). In 1616 his frescoed decoration of an Allegory of Florence (destr.; preparatory drawing, Florence, Uffizi, G.D.S. U. 1122F) on the fa?ade of Cosimo II de' Medici's house in Piazza della Calza won him unexpected and lasting fame. His early works also included several tabernacles, made for patrons in the town and in the surrounding countryside. The Virgin and Child with Saints Clara Peeters
Clara Peeters (1594 - c. 1657) was a Flemish painter noted for painting still lifes, particularly of breakfast scenes and florals.
Few details of her life are known. She was baptized in Antwerp in 1594, and married there in 1639. She is known to have lived in Amsterdam and The Hague. Her first known work was dated 1608, when she was 14. The quality of this work reveals a master teacher, and scholars believe she was influenced by Osias Beert. He was probably also an influence on the flower paintings of her contemporary, Catarina Ykens I (1608/1618 - 1666/1685), who was the wife of Frans Ykens, a pupil of Beert's. Clara Peeters's last painting was dated 1657, and is now lost. The circumstances of her death are unknown.