Antonello da Messina
1430-1479
Italian
Antonello da Messina Galleries
Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo.
Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts.
Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time.
The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born.
In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost.
Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings.
The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych.
In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini.
His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original).
Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo.
He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello. Related Paintings of Antonello da Messina :. | San Cassiano Altarpiece | Bebadelsen | St Sebastian jj | Salvator mundi | Ecce Homo | Related Artists: Elias MartinSwedish Painter, 1739-1818,Painter and engraver. After training in his father joinery shop and with the painter Friedrich Schultz (1709-69), he was engaged to design ornamentation for ships of the coastal fleet at Sveaborg (Finland). There he also taught drawing to the son of Field Marshal Count Augustin Ehrensv?rd (1710-72) while himself learning printmaking techniques from the Field Marshal. During this period Martin produced accurate studies of Finland coastal scenery and the Sveaborg fortress (e.g. Stockholm, Nmus.), as well as purely imaginary landscapes based on engravings. In 1766 he went to Paris and with Alexander Roslin help was able to study under Joseph Vernet at the Acad?mie Royale de Peinture et de Sculpture. A direct result of his studies was a View of Paris from the Quay Beneath the Pont Neuf (1766-7; Stockholm, Nmus.). Dirk van der AaDirk van der Aa , 1731 -- February 23, 1809.
He was born in The Hague, and first apprenticed to Johann Heinrich Keller, and then to Gerrit Mes with whom he would later start a workshop; they specialized in grisaille decorative paintings. He counted Evert Morel, Cornelis Kuipers, Johan Christiaan Roedig and Andries van der Aa amongst his students. He died in his home city of The Hague. John Christian Schetky(1778-1874)
Scottish painter. Schetky came from a cultured family: his father, Johann (1737-1824), was a German composer, and his mother, Maria, was the trumpeter Joseph Reinagle's sister. He took drawing lessons from Alexander Nasmyth and received a good education in Edinburgh before embarking on a Continental tour in 1801. After a spell as a drawing-master at the Royal Military College, Great Marlow, he was appointed Professor of Drawing at the Royal Naval College, Portsmouth, in 1811, a post he held for 25 years. He exhibited regularly at the Royal Academy between 1805 and 1872, his subjects ranging from ship portraits and royal embarkations to reconstructions of earlier sea battles of the time of Nelson. In 1820 he was made Marine Painter in Ordinary to George IV and was granted the same title by Queen Victoria in 1844.
|
|
|