Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.  Related Paintings of BECCAFUMI, Domenico :. | Trinity fgj | Birth of the Virgin dfgf | Tanaquil gffn | Fall of the Rebellious Angels gjh | The Holy Family with Young Saint John dfg |
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Constantin Meunier
(12 April 1831 - 4 April 1905), Belgian painter and sculptor, was born in Etterbeek, Brussels. His first exhibit was a plaster sketch, "The Garland," shown at the Brussels Salon in 1851. Soon afterwards, on the advice of the painter Charles de Groux, he abandoned the chisel for the brush. His first important painting, "The Salle St Roch" (1857), was followed by a series of paintings including "A Trappist Funeral" (1860), "Trappists Ploughing" (1863), in collaboration with Alfred Verwee, "Divine Service at the Monastery of La Trappe" (1871) and episodes of the German Peasants' War (1878). About 1880 he was commissioned to illustrate those parts of Camille Lemonnier's description of Belgium in Le Tour du monde which referred to miners and factory-workers, and produced "In the Factory," "Smithery at Cockerill's," "Melting Steel at the Factory at Seraing" (1882), "Returning from the Pit," and "The Broken Crucible" (1884). In 1882 he was employed by the government to copy Pedro de Campaña's "Descent from the Cross" at Seville, and in Spain he painted such characteristic pictures as "The Cafe Concert," "Procession on Good Friday," and "The Tobacco Factory at Seville" (Brussels Gallery). On his return to Belgium he was appointed professor at the Louvain Academy of Fine Arts. In 1885 he returned to statuary and produced " The Puddler," "The Hammerer" (1886), "Firedamp" (1889, Brussels Gallery), "Ecce Homo" (1891), "The Old Mine-Horse" (1891), "The Mower" (1892), "The Glebe" (1892), the monument to Father Damien at Louvain (1893), "Puddler at the Furnace" (1893), the scheme of decoration for the Botanical Garden of Brussels in collaboration with the sculptor Charles van der Stappen (1893), "The Horse at the Pond," in the square in the north-east quarter of Brussels, and two unfinished works, the "Monument to Labour" and the Zola monument, in collaboration with the French sculptor Alexandre Charpentier. The "Monument to Labour," which was acquired by the State for the Brussels Gallery, comprises four stone bas-reliefs, "Industry," "The Mine," "Harvest," and the "Harbour"; four bronze statues, "The Sower" "The Smith" "The Miner," and the "Ancestor"; and a bronze group, "Maternity". Meunier died at Brussels on 4 April 1905. Constantin Meunier was a freemason, and a member of the lodge Les Amis Philanthropes of the Grand Orient of Belgium in Brussels. He was one of the cofounders of the Societe Libre des Beaux-Arts of Brussels. In 1939, a museum dedicated to him was opened in the last house in which Meunier lived and worked, in Ixelles. Today about 150 of his works are displayed there.
Callisto Piazza
(1500-1561) was an Italian painter. Callisto, a member of the Piazza family of painters, was born in Lodi, Lombardy. In 1523 he was working in Brescia. His first dated and signed work is from the following year, and shows a typical Brescian style. This style was then emerging, and included artists such as Romanino and Moretto. Piazza shows influences from contemporaries such as Dosso Dossi and Ludovico Mazzolino of the Ferrarese school, as well as Giovanni Agostino da Lodi. In 1526-1529 Piazza worked in Val Camonica, at Erbanno, Borno, Breno, Esine and Cividate Camuno. In 1529 he returned to his native Lodi where he formed a workshop with his brothers Cesare and Scipione (died 1552). In 1538, while in Crema, he married the noblewoman Francesca Confalonieri. Later Callisto moved to Milan, where he received numerous commissions, such as the decoration of the San Girolamo chapel in Santa Maria Presso San Celso (1542); the decoration of the refectory of the convent of Sant'Ambrogio (1545); the frescoes for the Saletta Negra in the Castello Sforzesco; and the decoration of the Simonetta chapel in San Maurizio al Monastero Maggiore (1555), largely executed with the assistance of his son Fulvio. He also worked in Lodi at the Incoronata (1454), Novara, at the Abbey of Chiaravalle and other areas of Lombardy.
Thomas Cole
1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.