Italian Painter, ca.1459-1517 Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,   Related Paintings of CIMA da Conegliano :. | St. Jerome in the wilderness | Incredulity of St Thomas with Bishop Magno | Madonna of the Orange Tree | Hieronymus in einer Landschaft | The Annunciation (detail) dsg |
Related Artists:
John Henry Mohrmann
painted The Belgian steamer Amelie bound for Spain in
MONTAGNA, Bartolomeo
Italian Early Renaissance Painter, 1450-1523 Painter and draughtsman. Montagna is first documented in 1459 in Vicenza as a minor and, still a minor, in 1467. In 1469 he is recorded as a resident of Venice. In 1474 he was living in Vicenza where, in 1476 and 1478, he was commissioned to paint altarpieces (now lost). He has variously been considered a pupil of Andrea Mantegna (Vasari), Giovanni Bellini, Antonello da Messina, Alvise Vivarini, Domenico Morone and Vittore Carpaccio. While none of these artists, except Carpaccio, was irrelevant to Montagna's stylistic formation, scholars agree that Giovanni Bellini was the primary influence on his art. He may have worked in Bellini's shop around 1470. Several of Montagna's paintings of the Virgin and Child in which the influence of Antonello da Messina is especially marked (e.g. two in Belluno, Mus. Civ.; London, N.G., see Davies, no. 802) are likely to be close in date to Antonello's sojourn in Venice (1475-6); they are therefore best considered Montagna's earliest extant works (Gilbert, 1967) rather than as an unexplained parenthesis around 1485 between two Bellinesque phases (Puppi, 1962). These early paintings appear to be followed by others in which the geometrically rounded forms derived from Antonello become more slender and sharper-edged. Their figures are imbued with a deeply felt, individual humanity, sometimes austere and minatory, sometimes tender. Among them are some larger-scale works, for example the Virgin and Child Enthroned with SS Nicholas and Lucy (Philadelphia, PA, Mus. A.) and a Virgin and Child Enthroned with SS Ansanus, Anthony Abbot, Francis and Jerome
Julio Romero de Torres
was a Spanish painter. He was born and died in Cerdoba, Spain, where he lived most of his life. His father was the famous painter Rafael Romero Barros and his mother was Rosario de Torres Delgado. Julio learned about art from his father who was the director, curator and founder of Cerdoba's Museo Provincial de Bellas Artes and an impressionist painter. He took an interest in art at a young age and started studying at the School of Fine Arts when he was 10. He went to Madrid to work and study in 1906. He also traveled all over Europe to study and he picked up a symbolist style, for which he is best known. A museum dedicated to the work of de Torres is situated at Plaza del Potro 1 Cordoba 14002. He spent most of his life living in Cerdoba and Madrid and both places had influences on his paintings. He combined many different styles when he painted because he had many different influences including realism, which was a popular style at that time and impressionism, which he picked up from living in Cerdoba and from his father. While in Cerdoba he became part of the late 19th century intellectual movement that was based on the Royal Academy of Science, Arts and Literature. Julio Romero also won many awards in his lifetime. In 1895 he won an honorable mention at the National Exhibition and later won third place in 1899 and 1904. El Retablo del Amor by Julio Romero de Torres, painted in 1910.In 1914 he relocates to Madrid, where he makes contact with the intellectual and artistic environment of the time together with his brother Enrique. He became a regular at the cafe Nuevo Levante and his paintings began to reflect the philosophical currents of the times, represented by such writers of the times as Ramen del Valle-Inclen and Ruben Dareo. When the war broke out in 1914 Julio Romero fought for the allies as a pilot