Related Paintings of unknow artist :. | Portrait of Historian Ignacius Aurelius Fessler | Legend of Saint Ladislas | Hawaiian Canoe, Waikiki, | The Dock Facing the Doge's Palace | Seascape, boats, ships and warships. 125 |
Related Artists:
Anselm Schultzberg
(1862 -1945 ) - Painter
Jacques Daret
Jacques Daret (c. 1404 - c. 1470) was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil, Rogier van der Weyden.
CIGOLI
Italian Baroque Era Painter, 1559-1613 was an Italian painter and architect of the late Mannerist and early Baroque period, trained and active in his early career in Florence, and spending the last nine years of his life in Rome. Lodovico Cardi was born at Villa Castelvecchio di Cigoli, in Tuscany, whence the name by which he is commonly known. Initially, Cigoli trained in Florence under the fervid mannerist Alessandro Allori. Later, influenced by the most prominent of the Contra-Maniera painters, Santi di Tito, as well as by Barocci, Cigoli shed the shackles of mannerism and infused his later paintings with an expressionism often lacking from 16th century Florentine painting. For example, for the Roman patron, Massimo Massimi, he painted an Ecce Homo[1] (now in Palazzo Pitti). Supposedly unbenknownst to any of the painters, two other prominent contemporary painters, Passignano and Caravaggio, had been requested canvases on the same theme. It is unclear if they are completely independent. Cigoli's painting seems to have been made with knowledge of Caravaggio's canvas; however, while Cigoli's work lacks the power of Caravaggio's naturalism, the background shade and sparse foreground shows how much he was moving away from crowded Florentine historical paintings. This work was afterwards taken by Bonaparte to the Louvre, and was restored to Florence in 1815. One of his early paintings was of Cain slaying Abel. He then gained the employ of the Grand-Duke in some works for the Pitti Palace, where he painted a Venus and Satyr and a Sacrifice of Isaac. Other important pictures are St. Peter Healing the Lame Man in St Peter's; Conversion of St. Paul in the church of San Paolo fuori le Mura, and a Story of Psyche in a fresco incorporated in the decorative scheme of the Villa Borghese; a Martyrdom of Stephen, which earned him the name of the "Florentine Correggio", a Stigmata of St. Francis at Florence. Cigoli was made a Knight of Malta at the request of Pope Paul III. Cigoli, a close personal friend of Galileo Galilei, painted a last fresco in the dome of the Pauline chapel of the church of Santa Maria Maggiore in Rome, depicting the Madonna standing upon a pock-marked lunar orb. This is the first extant example of Galileo's discoveries about the physical nature of the moon (as he himself drew it in Sidereus Nuncius) having penetrated the visual arts practice of his day. Until this image, the moon in pictures of the Virgin had always been mythical and smooth, perfectly spherical as described by Platonic & Ptolemaic tradition.