Italian Mannerist Painter, 1503-1572 Agnolo di Cosimo (November 17, 1503 ?C November 23,1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects. It has been claimed by some that he had dark skin as a symptom of Addison disease, a condition which affects the adrenal glands and often causes excessive pigmentation of the skin.  Related Paintings of Agnolo Bronzino :. | Pygmalion and Galatea | Portrait of Lucrezia Pucci Panciatichi | Portrat des Bartolomeo Panciatichi | Holy Family | Ugolino Martelli (mk45) |
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SCHALCKEN, Godfried
Dutch Baroque Era Painter, 1643-1706 Dutch painter and etcher, active also in England. He was the second son of Cornelis Schalcken from Heusden, a clergyman in Made, and Aletta Lydius, who came from a famous clerical family in Dordrecht. In 1654 the family moved to Dordrecht, where Cornelis was appointed headmaster of the Latin school. There Godfried was apprenticed to Samuel van Hoogstraten. He completed his training in Leiden with Gerrit Dou and by 1665 had returned to Dordrecht. Schalcken's earliest known works, for example the Doctor's Visit (1669; Germany, priv. col., on loan to Cologne, Wallraf-Richartz-Mus.), are dominated by the influence of Dou and the Leiden 'fine painters'. Like Dou, Schalcken painted small genre pieces with a wealth of painstakingly rendered detail, and his themes and frequent use of artificial lighting are strongly reminiscent of the Leiden master. The six prints known by him, including a portrait of Gerrit Dou and a few portraits after van Hoogstraten, must also originate from this period. Possibly under the influence of Caspar Netscher and Frans van Mieris, Schalcken soon afterwards adopted a freer touch with gentler transitions and a lighter palette and applied himself to painting genre pieces with elegant figures.
Antonio Mancini
(14 November 1852 - 28 December 1930) was an Italian painter. Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823-1901), a painter of historical scenes who favored dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi (1818-1899), a landscape painter. Mancini developed quickly under their guidance, and in 1872, he exhibited two paintings at the Paris Salon. Mancini worked at the forefront of Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat in "Saltimbanco" (1877-78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds. While in Paris in the 1870s, Mancini met Impressionists Edgar Degas and Édouard Manet. He became friends with John Singer Sargent, who famously pronounced him to be the greatest living painter. His mature works show a brightened palette with a striking impasto technique on canvas and a bold command of pastels on paper. In 1881, Mancini suffered a disabling mental illness. He settled in Rome in 1883 for twenty years, then moved to Frascati where he lived until 1918. During this period of Mancini's life, he was often destitute and relied on the help of friends and art buyers to survive. After the First World War, his living situation stabilized and he achieved a new level of serenity in his work. Mancini died in Rome in 1930 and buried in the Basilica Santi Bonifacio e Alessio on the Aventine Hill. His painting,The Poor Schoolboy, exhibited in the Salon of 1876, is in the Musee d'Orsay in Paris. Its realist subject matter and dark palette are typical of his early work. Paintings by Mancini also may be seen in major Italian museum collections, including Galleria Nazionale d'Arte Moderna e Contemporanea in Rome, and Museo Civico-Galleria d'Arte Moderna in Turin. The Philadelphia Art Museum holds fifteen oil paintings and three pastels by Mancini that were a gift of New York art dealer Vance N. Jordan.
William Rimmer
1816-1879 William Rimmer Gallery William Rimmer (20 February 1816?C20 August 1879) was an American artist born in Liverpool, England. He was the son of a French refugee, who emigrated to Nova Scotia, where he was joined by his wife and child in 1818, and who in 1826 moved to Boston, where he earned a living as a shoemaker. The son learned the father's trade; at fifteen became a draughtsman and sign-painter; then worked for a lithographer; opened a studio and painted some ecclesiastical pictures. In 1840 Rimmer made a tour of New England painting portraits, he lived in Randolph, Massachusetts, in 1845-1855 as a shoemaker, for the last years of the decade practising medicine; practised in East Chelsea, Massachusetts and received a diploma from the Suffolk County Medical Society and in 1855 removed to East Milton, Massachusetts where he supplemented his income by carving busts from blocks of granite. In 1860 Rimmer made his head of St. Stephen and in 1861 his Falling Gladiator. Rimmer's sculptures, except those mentioned and The Fighting Lions, A Dying Centaur, and a statue of Alexander Hamilton (made in 1865 for the city of Boston), were soon destroyed. He worked in clay, not modelling but building up and chiselling; almost always without models or preliminary sketches; and always under technical disadvantages and in great haste; but his sculpture is anatomically remarkable and has an early Greek simplicity and strength. Rimmer published Elements of Design (1864) and Art Anatomy (1877), but his great work was in the classroom, where his lectures were illustrated with blackboard sketches. Rimmer's most famous work, though not normally associated with him, is Evening: Fall of Day. This paint-on-canvas portrays Apollo, and a modified version was used by Swan Song Records, the recording label founded in 1974 by English rock group Led Zeppelin, in their label art. It is often mistaken to be a picture of Icarus, Lucifer, Satan, or Daedalus