Painters Italy 15th century 16th century
Marco d'Oggiono was an Italian Renaissance painter and a chief pupil of Leonardo da Vinci, many of whose works he copied.
He was a hard-working artist, but his work has since been criticized by some for paintings are wanting in vivacity of feeling and purity of drawing, while, in his composition, it has been well said that "intensity of color does duty for intensity of sentiment". He copied Leonardo's Last Supper repeatedly, and one of his best copies is in the possession of the Royal Academy of Arts.
Giovanni Antonio da Brescia was an Italian Renaissance engraver who produced around 150 engravings, including those previously attributed to Zoan Andrea. He began his career under Andrea Mantegna in Mantua before settling in Rome and had an influence on Marcantonio Raimondi. His engravings mainly feature figures and use the burin and drypoint techniques. Giovanni Antonio's last known works were translations of painted works around 1519-1520, and some estimate his last production to be in 1525.
Polidoro Caldara, usually known as Polidoro da Caravaggio was an Italian painter of the Mannerist period, "arguably the most gifted and certainly the least conventional of Raphael's pupils", who was best known for his now-vanished paintings on the facades of Roman houses.
Antonio da Correggio was a seminal figure in the Italian Renaissance, particularly renowned for his mastery in illusionistic fresco decoration. His works bridged the gap between the High Renaissance and the Baroque movement, influencing many subsequent artists in the Baroque and Rococo styles. Antonio da Correggio is celebrated for his dynamic compositions, innovative use of perspective, and the sensual nature of his paintings, which often depicted religious and mythological themes.
Antonio da Correggio's notable contributions include the frescoes in the dome of San Giovanni Evangelista and the Cathedral of Parma. His work, characterized by dramatic foreshortening and emotional intensity, represents a pioneering approach to dome decoration, creating an immersive experience for the viewer. The "Assumption of the Virgin" in Parma's Cathedral is particularly renowned for its dynamic composition and innovative perspective, offering a celestial vision filled with angels and figures in motion, heralding the artistic transitions towards the Baroque era.
Additionally, Antonio da Correggio's mythological series, such as "Jupiter and Io" and "Leda and the Swan," demonstrate his ability to blend sensuality with divine themes, presenting these narratives with a tender and intimate touch that was groundbreaking for his time.
For collectors and experts in art and antiques, Correggio's works epitomize the transition in art styles from the Renaissance to the Baroque, showcasing his unique ability to convey emotion and movement through his innovative techniques and compositions.
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Jacopo da Empoli, real name Jacopo Chimenti, was a prominent Italian painter, a representative of Counter-Mannerism in Italian art. This movement borrowed some features of Mannerism, but resolutely returned to the realism, harmony and poise of the High Renaissance.
Jacopo da Empoli received his artistic training in the workshop of Maso da San Friano and was inspired by the works of Pontormo and Santi di Tito. He created in Florence, small towns in Tuscany and even visited Genoa.
Jacopo da Empoli created religious paintings and portraits, but an interesting feature of his work was his unique still life paintings, completely different from those of the Dutch masters of the time.
Gentile da Fabriano was an Italian painter known for his participation in the International Gothic painter style. He worked in various places in central Italy, mostly in Tuscany. His best-known works are his Adoration of the Magi from the Strozzi Altarpiece (1423), and the Flight into Egypt. Following a visit to Florence in the 1419, he came in contact with humanism, which influenced his work throughout the rest of his career. He became highly influential for other painters in Florence, especially because of his use of detail based on the observations he made of the natural world.
Melozzo da Forlì, an influential Italian Early Renaissance painter and architect, is celebrated for his pioneering work in the realm of fresco painting and his remarkable use of foreshortening, a technique that gives the illusion of depth in a two-dimensional space. Born on June 8, 1438, in Forlì, Italy, Melozzo was a leading figure in the art world of his time, leaving an indelible mark on the Renaissance culture and art landscape.
His tenure in Rome, from around 1472-74, was particularly fruitful, marking a period where he created some of his most notable works. The fresco "Sixtus IV Appointing Platina as Librarian of the Vatican Library," completed in 1477 and now housed in the Pinacoteca Vaticana, stands as a testament to his mastery of perspective and architectural representation. Melozzo's work in the Basilica dei Santi Apostoli in Rome, particularly the fresco depicting the Ascension of Christ, is another significant contribution, showcasing his ability to portray figures with dynamic realism and depth.
Throughout his career, Melozzo also engaged in architectural design and was involved in the construction of Palazzo Altemps for Girolamo Riario in Rome, demonstrating his versatile talent beyond painting. His influence extended to his pupils, notably Marco Palmezzano, and his style and techniques continued to inspire future generations, including Raphael and Michelangelo.
Melozzo's legacy is characterized by his contributions to the development of pictorial art, especially his innovative use of perspective and foreshortening. Although many of his works have been lost or damaged over time, those that survive continue to be studied and admired for their artistic and technical prowess. His final years were spent in his hometown of Forlì, where he died on November 8, 1494, leaving behind a body of work that continues to be celebrated for its influence on the Renaissance art movement.
For collectors and experts in art and antiques, Melozzo da Forlì's work represents a pivotal moment in the history of Renaissance art, embodying the transition towards more dynamic and realistic representations. If you're keen on exploring the contributions of this remarkable artist further, consider signing up for updates related to Melozzo da Forlì. This subscription will keep you informed about new product sales and auction events, offering a unique opportunity to connect with the rich heritage of Renaissance art and culture.
Antonello da Messina, a preeminent Italian painter born around 1430 in Messina, Sicily, left an indelible mark on the art world with his pioneering techniques and emotive works. He is primarily recognized for his profound influence on Venetian painting during the Renaissance, although his reach extended far beyond Venice.
Antonello da Messina's early work, thriving with eclectic influences from Flemish, Catalan, and Provençal elements, reflects the diverse artistic culture of southern Italy. His journey took a significant turn with his move to Venice around 1475, where he not only embraced but also enhanced the art of portraiture. He brought a new depth to this genre, showcasing his subjects in three-quarter views against dark backgrounds, a striking departure from the prevalent profile portraits of the time.
In Venice, Antonello da Messina's work began to exhibit a greater focus on the human figure in terms of anatomy and expressivity. This shift is notably seen in his masterpiece, the St. Sebastian, which skillfully blends the human form with a backdrop of Venetian life. His time in Venice was also crucial for his development in religious art, as seen in his works like the Virgin Annunciate and the San Cassiano Altarpiece. These pieces were pivotal in evolving the sacra conversazione format, which later inspired artists like Giovanni Bellini.
Antonello da Messina's legacy is particularly prominent in his approach to religious themes. His depiction of Christ and the Virgin Mary are characterized by a palpable realism, with figures extending into the viewer's space, blurring the lines between the sacred and the secular. This innovative style had a profound impact on the development of European painting, setting the stage for the emotive and realistic portrayal of religious figures.
Antonello da Messina's artistic journey was marked by his ability to blend Italian simplicity with a Flemish focus on detail. His works, particularly his portraits, showcased a psychological depth that was ahead of his time. The legacy of his techniques, particularly in oil painting and the psychological dimension he lent to his works, continued through his family, notably his son Jacobello.
For collectors and experts in art and antiques, the works of Antonello da Messina offer a unique insight into the evolution of Renaissance art, especially in the realms of portraiture and religious painting. His contributions have cemented his place as a master of the Renaissance era.
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Leonardo da Pistoia, also known as Leonardo Grazia, was an Italian painter born in 1502 in Pistoia, Tuscany, and active during the Mannerism period. His career spanned until approximately 1548, during which he made significant contributions to the Italian Renaissance.
Leonardo da Pistoia's work was notably influenced by two renowned artists of the time, Fra Bartolomeo and Raphael. He is often credited for his ability to emulate Raphael's style, evident in works like his "Madonna and Child" (1516), housed in the Staatliche Museen, Berlin, which is a free copy of Raphael's "Madonna del Baldacchino." Another of his works, housed in Brussels, is derived from Raphael's "Bridgewater Madonna." These pieces reflect da Pistoia's admiration and skilled interpretation of Raphael's first and second-decade creations.
Leonardo da Pistoia's life and career were spent primarily in Italy, working in notable cities such as Rome and Naples. In Rome, he worked under Gianfrancesco Penni, known as "il Fattore," and was a copyist of Raphael's paintings. His transition to Naples marked a significant period in his career where he contributed to churches like Santa Maria del Parto a Mergellina, San Domenico Maggiore, and Monte Oliveto. His pupils in Naples included notable artists like Girolamo Siciolante da Sermoneta and Francesco Curia.
Leonardo da Pistoia's work "Cleopatra," which portrays the Egyptian queen with an asp around her neck, is a testament to his mastery in blending realism with allegorical elements. This painting, initially attributed to various artists including Bronzino and Giulio Romano, has been credited to Leonardo da Pistoia, reflecting his influence from Roman, Neapolitan, and Tuscan artistic styles.
For art collectors and experts in art history, Leonardo da Pistoia's work offers a glimpse into the evolving styles of the Italian Renaissance, particularly in how he skillfully adopted and adapted the techniques of his more famous contemporaries. His paintings, rich in historical and artistic value, are a testament to the vibrant and dynamic art scene of Renaissance Italy.
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Jacopo da Pontormo, an Italian painter born in 1494, was a pivotal figure in the Mannerist movement, diverging from the High Renaissance's balanced compositions to explore more expressive and emotionally charged art. His work is celebrated for its unusual color palettes, elongated forms, and a unique approach to perspective, all of which contribute to the intensely emotional effect of his paintings.
Operating in Florence, Pontormo's art is distinguished by its vivid expressiveness and dramatic tension, characteristics that set him apart from his contemporaries. His ability to convey deep psychological complexity through his subjects has left a lasting impact on the history of art, making his works highly prized among collectors and scholars alike.
One of his most acclaimed works, the "Deposition from the Cross" in the Capponi Chapel in Florence, exemplifies his innovative approach to composition and color, marking a significant departure from traditional depictions of this biblical scene. This masterpiece, along with others like his portraits and religious paintings, can be found in some of the world's most prestigious museums and galleries.
For art collectors and enthusiasts, Jacopo da Pontormo represents the intriguing complexity of the Mannerist period, offering a window into the evolving artistic landscape of 16th-century Italy. His works not only challenge the viewer's expectations but also invite a deeper exploration of the emotional and spiritual dimensions of painting.
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Girolamo da Treviso the Younger was an Italian painter whose versatile talent shone brightly during the Renaissance. Born in Treviso, his artistic journey was marked by a profound ability to blend the innovative techniques of the High Renaissance with the rich traditions of Italian painting.
Renowned for his expertise in a variety of subjects, Girolamo's works ranged from religious narratives to mythological scenes, each imbued with a depth of emotion and meticulous attention to detail. His style was characterized by dynamic compositions, a masterful use of perspective, and a vibrant palette that brought his figures and landscapes to life.
Among his notable contributions to the art world, Girolamo da Treviso's altarpieces and frescoes stand out for their artistic and historical significance. These works, preserved in some of the most prestigious museums and churches across Italy, continue to attract art lovers and scholars, captivated by their beauty and the story of their creator.
For collectors and experts in art and antiques, Girolamo da Treviso II represents an intriguing figure whose oeuvre offers a window into the transformative period of the Renaissance. His paintings are not only valued for their aesthetic appeal but also for the insights they provide into the cultural and artistic developments of the 16th century.
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Jacopo da Valenza was an Italian Renaissance painter.
He worked between 1485 and 1509 in many churches in the Belluno and Vittoria districts of Veneto, creating altarpieces and altarpieces. Two of his most important works are now preserved in Vittorio Veneto, in their original locations: the Madonna and Child on the Throne in the cathedral of Ceneda, 1484, and the Madonna and Child in the church of San Giovanni Battista di Serravalle, 1502. Some works are in museums in Italy.
Leonardo da Vinci was an Italian polymath of the High Renaissance, celebrated as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. His remarkable abilities and innovative thinking made him an epitome of the Renaissance humanist ideal. Born in Vinci, near Florence, in 1452, Leonardo was educated in Florence by Andrea del Verrocchio, a renowned painter and sculptor. He began his career in Florence, later working in Milan, Rome, and France, where he died in 1519.
Da Vinci is revered for his artistic mastery, technological innovation, and scientific inquiry. Despite having fewer than 25 major works attributed to him, including several unfinished ones, his influence on Western art is profound. His magnum opus, the "Mona Lisa," housed in the Louvre Museum, Paris, is considered the world's most famous painting. "The Last Supper," his most reproduced religious painting, showcases his mastery of dramatic narrative and pictorial illusionism. Both paintings exhibit Leonardo's unique ability to convey complex human emotions and his innovative use of techniques like sfumato and chiaroscuro.
Leonardo's interests extended far beyond fine art. He was a visionary in multiple fields, including anatomy, physics, architecture, and mechanics. His notebooks reveal designs for machines like bicycles, helicopters, and military tanks, centuries ahead of their time. However, due to his diverse interests, he left many projects and paintings incomplete. Leonardo's final years were spent in France, where he continued his artistic and scientific pursuits until his death.
For collectors and experts in art and antiques, Leonardo da Vinci remains a figure of endless fascination. His works not only embody the pinnacle of Renaissance art but also provide insights into the era's scientific and philosophical inquiry. To stay updated on new sales and auction events related to Leonardo da Vinci, sign up for our newsletter. This subscription is a gateway to exploring the rich legacy of this unparalleled artist and inventor.
Jacopo Bassano, known also as Jacopo dal Ponte, was an Italian painter who was born and died in Bassano del Grappa near Venice, and took the village as his surname. Trained in the workshop of his father, Francesco the Elder, and studying under Bonifazio Veronese in Venice, he painted mostly religious paintings including landscape and genre scenes. He often treated biblical themes in the manner of rural genre scenes, portraying people who look like local peasants and depicting animals with real interest. Bassano's pictures were very popular in Venice because of their depiction of animals and nocturnal scenes. His four sons: Francesco Bassano the Younger, Giovanni Battista da Ponte, Leandro Bassano, and Girolamo da Ponte, also became artists and followed him closely in style and subject matter.
Vincenzo dalle Destre or Vincenzo dai Destri was an Italian painter who worked in Treviso and Venice from 1488.
In 1530 Destre was included among the members of the brotherhood of painters of Venice. He painted altars and churches with scenes from the Bible, and his skill was highly valued by his contemporaries.
Andrea del Castagno was an illustrious Italian Renaissance painter, celebrated for his pioneering role in the evolution of art during the 15th century. Born around 1419 near Florence, Italy, Castagno's work is synonymous with the emotional power and naturalistic treatment of figures, a testament to his innovative approach that diverged significantly from the prevailing artistic norms of his time. His ability to imbue frescoes and paintings with a sense of depth, character, and realism marked a departure from the less detailed and more symbolic art of the earlier Middle Ages, aligning him with the burgeoning humanist ideals of the Renaissance.
One of Castagno's most revered works, "The Last Supper," executed in the refectory of the convent of Sant'Apollonia in Florence, showcases his mastery in creating lifelike figures and spatial depth. This particular fresco was notable for its unprecedented detail and naturalism, setting a precedent that would later influence Leonardo da Vinci's rendition of the same subject. Besides "The Last Supper," Castagno's contributions include a series of portraits of famous men for the Villa Carducci at Legnaia and significant religious works such as the "Assumption with Saints Julian and Miniato," now housed in Berlin. His work in Venice, particularly the frescoes in the San Zaccaria church, further exemplifies his innovative use of perspective and his influence from contemporaries like Donatello and Paolo Uccello.
Despite his relatively short life, succumbing to the plague in 1457, Castagno's legacy is profound, impacting not just his contemporaries but also setting a foundation for future generations. His works reside in prestigious galleries worldwide, serving as a beacon of the Renaissance's artistic achievements and the enduring appeal of realistic, emotionally resonant art.
For art collectors and experts, understanding Castagno's contributions offers invaluable insights into the evolution of Renaissance art and its foundational impact on Western artistic traditions. His works not only reflect the technological and philosophical advancements of the time but also highlight the individual artist's role in societal shifts.
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Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.
Jacopo del Sellaio was an Italian painter of the early Renaissance, active in his native Florence. His real name was Jacopo di Arcangelo. He worked in an eclectic style based on those of Botticelli, Filippino Lippi, and Domenico Ghirlandaio. The nickname Sellaio derives from the profession of his father, a saddle maker.
Today Sellaio is best known for paintings from the fronts of cassoni, or wedding chests. These often depict stories from ancient mythology, Roman history, or the Bible.
Perino del Vaga (nickname of Piero Bonaccorsi) was an Italian painter and draughtsman of the Late Renaissance/Mannerism.
Del Vaga's style was renowned for his vitality and elegance. His paintings are considered important in the mediation between the Roman Raphaelesque tradition and the first Florentine Mannerism. He combined the manners of Raphael and Andrea del Sarto. Many of his works were engraved, even in his own lifetime. Daniele da Volterra, Girolamo Siciolante da Sermoneta, Luzio Romano and Marcello Venusti were among his principal assistants.
Andrea del Verrocchio, a prominent figure of the Italian Renaissance, was a master of multiple disciplines including sculpture, painting, and goldsmithing. Born in Florence around 1435, Verrocchio was a versatile artist whose influence extended far beyond his own creations, most notably as the mentor to Leonardo da Vinci. His works span a range of media, showcasing his expertise in both the sculptural and painterly aspects of Renaissance art.
Verrocchio's studio was a fertile ground for the incubation of Renaissance artistic talent. Among his most celebrated works is the bronze statue of David, commissioned by the Medici, which displays a youthful victor standing over Goliath, emblematic of Florence's civic pride and cultural ambition. This piece, alongside his equestrian statue of Bartolomeo Colleoni in Venice, exemplifies Verrocchio's skill in capturing dynamic figures and his innovative approach to bronze casting.
In painting, Verrocchio's contributions, though fewer in number, are significant for their exploration of depth and perspective, hallmarks of Renaissance artistry. His Baptism of Christ, for example, is notable not only for its own merits but also for Leonardo da Vinci's participation, which, according to legend, led Verrocchio to never paint again, outshone by his pupil's talent. However, this story is often considered apocryphal.
Verrocchio's legacy is cemented by the breadth of his work and the generations of artists he influenced. His adeptness across multiple forms—sculpture, painting, and goldsmithing—places him among the Renaissance's most versatile and influential figures. His sculptures and paintings remain pivotal in understanding the evolution of Renaissance art, characterized by a deep understanding of human anatomy, a mastery over materials, and an innovative approach to traditional themes.
For collectors and experts in art and antiques, Verrocchio's works offer a fascinating insight into the mastery and creativity of the Renaissance period. His influence on subsequent generations of artists underscores the enduring value and appeal of his creations.
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Nicolò dell'Abate was an influential Italian Mannerist painter, known for his vital role in integrating the Italian Renaissance's artistic principles with French Mannerism. Born around 1509 in Modena, Italy, his early experiences under local Modenese sculptors and painters like Il Garofalo and Dosso Dossi shaped his initial artistic style, which featured elaborate landscapes and mythological narratives.
Abate's journey took a pivotal turn in 1552 when he moved to France to work at the Château de Fontainebleau under the patronage of Francesco Primaticcio. This period marked a significant evolution in his style as he engaged deeply with French cultural and artistic norms. At Fontainebleau, he was instrumental in the decoration of royal spaces, bringing a distinctly Italian Mannerist flair to his frescoes and tapestries. His works from this period, such as 'The Death of Eurydice' and landscapes for Charles IX, showcased a refined integration of narrative and environment, significantly influencing later French artists like Claude Lorrain and Nicolas Poussin.
Abate's legacy extends beyond his frescoes and canvases, touching on the ephemeral aspects of art through festive decorations for courtly celebrations, which though temporary, left a lasting impact on the French artistic landscape. His contribution to the School of Fontainebleau helped establish a stylistic foundation that would carry forward into the classical age of French painting.
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Benvenuto di Giovanni di Meo del Guasta, an Italian painter hailing from Siena, was recognized for his compelling panel paintings, frescoes, and manuscripts produced over a span of 43 years, during the Renaissance period. Born around 1436, his work life was largely based in Siena, where he was first documented as a young artist in 1453. His teacher was likely Vecchietta, with whom he collaborated on fresco decoration in Siena's baptistry. Di Giovanni married Jacopa di Tommaso da Cetona in 1466, which marked the beginning of a productive period that saw the creation of notable works such as the Annunciation and Saints (1466) and the Nativity (1470).
Benvenuto di Giovanni's style was characterized by its noble, classical forms and bright, intensely lit, glassy consistency, influenced by his interaction with North Italian miniaturists like Liberale da Verona and Girolamo da Cremona. His works, such as the triptych from Montepertuso (1475), the Borghesi altarpiece, and the triptych in the National Gallery, London (1479), stand as masterpieces of his sharply defined and surreal world. In the later years of his career, di Giovanni was commissioned for floor designs in the Siena cathedral and miniatures for its choir books, showing a style that occasionally simplified due to collaboration with his son, Girolamo di Benvenuto, but remained distinctively his.
Significant works by Benvenuto di Giovanni include "The Adoration of the Magi" and "The Crucifixion," both showcasing his mastery in perspective and religious narrative. For collectors and experts in art and antiques interested in the evocative and historically rich works of the Renaissance, Benvenuto di Giovanni's oeuvre offers a captivating exploration of 15th-century Sienese artistry.
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Rutilio di Lorenzo Manetti was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 17th century. Among his masterpieces are his contributions to the Casino Mediceo, which he worked alongside Matteo Rosselli, Giovanni Lanfranco, and Cesare Dandini. One of his pupils or followers is Stefano Volpi.
Giovanni di Paolo di Grazia was an Italian painter, working primarily in Siena, becoming a prolific painter and illustrator of manuscripts, including Dante's texts. He was one of the most important painters of the 15th century Sienese School. His early works show the influence of earlier Sienese masters, but his later style was more individual, characterized by cold, harsh colours and elongated forms. His style also took on the influence of International Gothic artists such as Gentile da Fabriano. Many of his works have an unusual dreamlike atmosphere, such as the surrealistic Miracle of St. Nicholas of Tolentino painted about 1455 and now housed in the Philadelphia Museum of Art, while his last works, particularly Last Judgment, Heaven, and Hell from about 1465 and Assumption painted in 1475, both at Pinacoteca Nazionale (Siena), are grotesque treatments of their lofty subjects. Giovanni's reputation declined after his death but was revived in the 20th century.
Niccolò di Pietro Gerini was a pivotal figure in the Italian art scene of the late Gothic period, celebrated for his contributions that spanned from the late 14th to the early 15th century. Born in Florence around 1340, Gerini's artistry flourished within the walls of his native city, although his talent also led him to work in Pisa and Prato. Unlike the innovative currents that swept through the art world during his time, Gerini remained faithful to traditional compositions, favoring stiff and dramatic movements in his figures.
Gerini's education and career were deeply intertwined with the artistic guilds of Florence. His father's membership in the Guild of Saint Luke in 1339 paved the way for Gerini's own entry into the Arte dei Medici e Speziali Guild by 1368, a testament to his early involvement in the city's artistic fabric. His works, marked by their large chins, sloping foreheads, and sharp noses, bore the influence of Gothic depictions, aligning him with the schools of Giotto di Bondone, Andrea di Orcagna, and Taddeo Gaddi.
Throughout his career, Gerini collaborated with notable artists like Jacopo di Cione, contributing to frescoes for the Guild hall of the Judges and Notaries in Florence and working on significant projects such as the altarpiece for the Coronation of the Virgin at San Pier Maggiore, Florence. His ability to blend architectural design with his painting skill is evident in these collaborations.
Gerini's paintings, including the triptych from 1387 housed in the National Gallery, London, and the Crucifixion, showcase his mastery over egg tempera on wood, a medium through which he conveyed religious narratives with profound solemnity and intricate detail. His works are preserved in prestigious collections, including The Hermitage, St. Petersburg, and the Alte Pinakothek, Munich, reflecting his enduring legacy in the annals of art history.
For collectors and experts in art and antiques, Gerini's oeuvre offers a rich exploration of late Gothic artistry, characterized by its adherence to traditional values while simultaneously capturing the spiritual and cultural nuances of his time. To stay informed on new discoveries and auction events related to Niccolò di Pietro Gerini, signing up for updates is a valuable resource for enthusiasts keen on this remarkable period of art history.
Giovanni di Ser Giovanni Guidi, more famously known as Scheggia, was an Italian painter whose contributions to the arts during the Renaissance period have carved him a distinct niche in art history. Born in Italy, Scheggia was a craftsman of narrative and decorative painting, specializing in altarpieces, cassone panels, and birth trays, which were popular in Florentine culture for their intricate storytelling and detailed artistry.
Scheggia is perhaps best known for his lively and detailed panels that graced the fronts of marriage chests, known as cassoni. These pieces were celebrated for their vivid depictions of allegorical and mythological scenes, showcasing Scheggia's skillful use of color and composition to bring tales to life. His work not only adorned the homes of the wealthy but also served as a testament to the rich cultural and artistic fervor of Renaissance Florence.
One of Scheggia's most notable works, the "Madonna of Humility with Angels," showcases his ability to blend divine and earthly realms in a harmonious composition that speaks volumes of his mastery over form and space. This, among other works by Scheggia, can be admired in museums across Italy, offering a glimpse into the vibrant Renaissance art scene.
For collectors and experts in art and antiques, Giovanni di Ser Giovanni Guidi represents an intriguing exploration into the less-trodden paths of Renaissance art. His paintings are a celebration of the era's innovative spirit, offering insights into the everyday lives, cultural practices, and artistic achievements of the time.
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Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism. Santi completely rejected the maniera of Bronzino, and embraced a classical Reformist and naturalistic style. Santi's mature style is reflected in his masterpiece of the Vision of Saint Thomas Aquinas, also known as Saint Thomas Dedicating His Works to Christ located in the church of San Marco in Florence.
Tiberio di Tito was an Italian painter. He was the son and pupil of the late-Mannerist painter Santi di Tito. He specialized in portrait painting, including small pencil portraits, on which he was much employed by Cardinal Leopoldo de' Medici.
Domenico di Zanobi, formerly known as the Master of the Johnson Nativity, was an Italian Renaissance painter. His exact dates of birth and death are not known. He is documented as a mature artist from 1467 until 1481.
Since none of his paintings are signed, historian Everett Fahy named their artist the "Master of the Johnson Nativity," after the panel of the Nativity in the Johnson Collection at the Philadelphia Museum of Art.
He painted primarily religious subjects, including altarpieces and many small panels for private devotion.
Domenichino, real name Domenico Zampieri, Italian painter of the Bolognese school, mentor of Nicolas Poussin and Claude Lorrain, forerunner of Classicism.
Domenico painted the Palazzo Farnese and the frescoes in the church of Sant'Onofrio. He worked with Guido Reni in the Church of St Gregory the Great. Until the middle of the 19th century Domenichino was regarded by connoisseurs of the fine arts as one of the greatest artists in European history, a true heir of Raphael.
Giovanni di Niccolò de Luteri, better known as Dosso Dossi, was an Italian Renaissance painter who belonged to the School of Ferrara, painting in a style mainly influenced by Venetian painting, in particular Giorgione and early Titian.
From 1514 to his death he was court artist to the Este Dukes of Ferrara and of Modena, whose small court valued its reputation as an artistic centre. He often worked with his younger brother Battista Dossi, who had worked under Raphael. He painted many mythological subjects and allegories with a rather dream-like atmospheres, and often striking disharmonies in colour. His portraits also often show rather unusual poses or expressions for works originating in a court.