Italian Early Renaissance Painter, 1420-1497 Italian Renaissance painter. Early in his career he assisted Lorenzo Ghiberti on the east doors of the Baptistery in Florence and Fra Angelico on frescoes in Florence, Rome, and Orvieto. His reputation today rests on the breathtaking fresco cycle The Journey of the Magi (1459 ?C 61) in the chapel of Florence's Medici-Riccardi Palace. His work as a whole was undistinguished, however. He painted several altarpieces and a series of 25 frescoes of Old Testament scenes, now badly damaged, for the Camposanto in Pisa (1468 ?C 84).   Related Paintings of Benozzo Gozzoli :. | Procession of the Magi (mk08) | Procession of the Magus Gaspar | Detail from The Procession of the Magi | Scenes From the Life of St.Augustine | Madonna and Child with Angel Playing Music |
Related Artists:
Adolphe Bouguereau
French 1825-1905 French painter. From 1838 to 1841 he took drawing lessons from Louis Sage, a pupil of Ingres, while attending the coll?ge at Pons. In 1841 the family moved to Bordeaux where in 1842 his father allowed him to attend the Ecole Municipale de Dessin et de Peinture part-time, under Jean-Paul Alaux. In 1844 he won the first prize for figure painting, which confirmed his desire to become a painter. As there were insufficient family funds to send him straight to Paris he painted portraits of the local gentry from 1845 to 1846 to earn money. In 1846 he enrolled at the Ecole des Beaux-Arts, Paris, in the studio of Fran?ois-Edouard Picot. This was the beginning of the standard academic training of which he became so ardent a defender later in life. Such early works as Equality (1848; priv. col., see 1984-5 exh. cat., p. 141) reveal the technical proficiency he had attained even while still training. In 1850 he was awarded one of the two Premier Grand Prix de Rome for Zenobia Discovered by Shepherds on the Bank of the River Araxes (1850; Paris, Ecole N. Sup. B.-A.). In December 1850 he left for Rome where he remained at the Villa Medici until 1854, working under Victor Schnetz and Jean Alaux (1786-1864). During this period he made an extensive study of Giotto's work at Assisi and Padua and was also impressed by the works of other Renaissance masters and by Classical art. On his return to France he exhibited the Triumph of the Martyr (1853; Lun?ville, Mus. Lun?ville; see fig. 1) at the Salon of 1854. It depicted St Cecilia's body being carried to the catacombs, and its high finish, restrained colour and classical poses were to be constant features of his painting thereafter. All his works were executed in several stages involving an initial oil sketch followed by numerous pencil drawings taken from life.
Baron Gerard
There have been three baronies created for descendants of the Gerard family who resided at Bryn, Ashton in Makerfield, Lancashire and Kingsley, Cheshire in the 13th century. The title Baron Gerard of Gerards Bromley, was created in the Peerage of England on 21 July 1603 for Sir Thomas Gerard (d. 1617), son of Sir Gilbert Gerard (d. 1593) Attorney General between 1559 and 1581 and Master of the Rolls in 1581, who acquired estates at Gerards Bromley and Hilderstone, Staffordshire. The first Baron was Lord President of Wales between 1610 and 1617. The barony passed in direct line of succession until the death of the fifth Baron in 1684 when it passed to his second cousin Charles, and upon his death without a male heir , to his brother Philip Gerard, a Jesuit priest who died childless in 1773 when the barony expired. The title of Baron Gerard of Bryn in the County Palatine of Lancaster, was created in the Peerage of the United Kingdom in 1876 for Sir Robert Gerard, 13th Baronet. The title followed the line of the first Baron's eldest son until the death of the latter's grandson, the fourth Baron, in 1992. He was succeeded by his second cousin once removed, the fifth and present holder of the barony. He is the great grandson of Captain the Hon. Robert Joseph Gerard-Dicconson, second son of the first Baron. A Gerard Baronetcy had been created in the Baronetage of England in 1611 for Thomas Gerard, Member of Parliament for Liverpool, Lancashire, and Wigan who was a direct descendant of the family of Bryn. He was succeeded by his son, the second Baronet. He also represented Liverpool in the House of Commons. His son, the third Baronet, was a Royalist during the Civil War and spent a large part of his estate in in his support for King Charles I. His great-great-great-grandson was the aforementioned thirteenth Baronet, who was elevated to the peerage in 1876. For the title Baron Gerard of Brandon, in the County of Suffolk, created in 1645 for a great-grandson of Sir Gilbert Gerard (mentioned above), see Earl of Macclesfield.
Eugenio Gignous
(Milan, 1850 - Stresa (Verbania), 1906) was an Italian painter. The son of a silk merchant from Lyon, Gignous displayed a precocious talent for painting and enrolled at the Brera Academy of Fine Arts in 1864, attending the courses on landscape taught by Luigi Riccardi and then Gaetano Fasanotti. He came into contact with the Milanese Scapigliatura movement when still very young and formed a close friendship with Tranquillo Cremona. He began to focus exclusively on landscape in the 1870s, experimenting with painting en plein air and producing views of the Lombard and Piedmontese countryside that he showed at all the major national exhibitions. The late 1870s saw a more naturalistic approach to landscape painting under the influence of Filippo Carcano, with whom Gignous went to paint on Lake Maggiore in 1879, thus inaugurating a thematic repertoire devoted primarily to views of the Verbano, Mottarone and Val deOssola. Some biographical notes written by the artistes wife Matilde would appear to bear out the hypothesis of a trip to Paris in the company of Carcano in 1878 and attest to friendship with Vincenzo Vela, who was apparently his host on numerous occasions in Ligornetto. A recognised leader of the Lombard school of painting, he lived in Stresa and on the coast of Liguria from 1887 to 1906, his year of his death, with long stays in Venice. The Venice Biennale held a retrospective exhibition of his work in 1907.