Italian, 1560-1635,Son of Jacopo Tintoretto. He was taught by his father and assisted him in his workshop. At the age of 17 he was admitted to the Venetian painters' guild, and he is recorded in the confraternity of painters from 1594. He began his career by helping his father to execute the paintings in the Sala del Collegio and Sala del Senato in the Doge's Palace, Venice. Following this he worked independently at the palace, on the Sala dello Scrutinio and the Sala del Maggiore Consiglio. His training with his father helped him in his own compositions, several of which, such as the Battle of Salvore, or the Second Conquest of Constantinople, are heroic battle themes with complex groupings and dramatic poses. In the last two decades of the 16th century Domenico concentrated on religious commissions in Venice, including a Last Supper and Crucifixion (both c. 1583) for S Andrea della Zirada (both in situ), a Marriage of the Virgin for S Giorgio Maggiore (in situ) and a Crucifixion for the Scuola dei Mercanti.  Related Paintings of Domenico Tintoretto :. | The Circumcision | The Penitent Magdalene | The Penitent Magdalene | Portrait of Joannes Gritti | Christ Crowned with Thorns |
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ANGUISSOLA Sofonisba
Italian Mannerist Painter, 1532-1625 The best known of the sisters, she was trained, with Elena, by Campi and Gatti. Most of Vasari's account of his visit to the Anguissola family is devoted to Sofonisba, about whom he wrote: 'Anguissola has shown greater application and better grace than any other woman of our age in her endeavours at drawing; she has thus succeeded not only in drawing, colouring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings'. Sofonisba's privileged background was unusual among woman artists of the 16th century, most of whom, like Lavinia Fontana (see FONTANA (ii),(2)), FEDE GALIZIA and Barbara Longhi (see LONGHI (i), (3)), were daughters of painters. Her social class did not, however, enable her to transcend the constraints of her sex. Without the possibility of studying anatomy, or drawing from life, she could not undertake the complex multi-figure compositions required for large-scale religious or history paintings. She turned instead to the models accessible to her, exploring a new type of portraiture with sitters in informal domestic settings. The influence of Campi, whose reputation was based on portraiture, is evident in her early works, such as the Self-portrait (Florence, Uffizi). Her work was allied to the worldly tradition of Cremona, much influenced by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm. From Gatti she seems to have absorbed elements reminiscent of Correggio, beginning a trend that became marked in Cremonese painting of the late 16th century. This new direction is reflected in Lucia, Minerva and Europa Anguissola Playing Chess (1555; Poznan, N. Mus.) in which portraiture merges into a quasi-genre scene, a characteristic derived from Brescian models.
BELLE-CHOSE, Henri
Flemish Gothic Era Painter, active ca.1415-1440 South Netherlandish painter. He was one of the artists who came from the South Netherlands to work for the French royal family. On 23 May 1415 he succeeded Jean Malouel as court painter and Valet de Chambre to John the Fearless, Duke of Burgundy, in Dijon, and he may already have been connected with Malouel's workshop. On 5 November 1415 Bellechose was paid for painting four small wooden pillars with angels, which were placed around the high altar of Notre-Dame, Dijon. On 19 May 1416 the duke authorized the purchase of materials for Bellechose to complete two panels, one of the Martyrdom of St Denis and another showing the Death of the Virgin, for the Charterhouse of Champmol. Bellechose also carried out decorative work, including painting banners for the Duke's castle of Talant near Dijon in 1416 and coats of arms for the funeral of John the Fearless in 1419. On 5 April 1420 Bellechose was appointed court painter to Philip the Good, successor to John the Fearless. His first known commissions were again of a decorative nature, including work for the funerals of Margaret of Bavaria, wife of John the Fearless, in 1423 and of Catherine of Burgundy, daughter of an earlier Duke of Burgundy, Philip the Bold, in 1425 and for the marriage of Philip the Good's sister Agnes of Burgundy in 1424. During these years he had eight assistants and two apprentices; travelling artists, including some from German territory, also worked in his shop on a temporary basis. Around this time he married Alixant Lebon, daughter of a Dijon notary. On 21 November 1425 Philip the Good ordered an altarpiece of the Virgin venerated by John the Fearless and Philip the Good, accompanied by SS John the Evangelist and Claude, for the chapel of the castle at Saulx-le-Duc in Burgundy. Bellechose painted three statues for the new entrance gate to the palace in Dijon in 1426. In August 1429 he received an important commission for St Michel, Dijon, to make an altarpiece with Christ and the Twelve Apostles and an antependium showing the Annunciation. Exactly a year later his name appears for the last time in the ducal accounts.
Bernardino india
Italian Emilian painter , 1528-1590 was a painter of the late Renaissance, born and mainly active in Verona. He is said to have trained with Domenico Riccio. He collaborated with Michele Sanmicheli in the Canossa palace and Pellegrini chapel in San Bernardino of Verona. He collaborated with Felipe Brusasorci, Domenico's son in frescoes at Palazzo Fiorio Della Seta. He decorated Palladian villas such as Villa Pojana, Villa Foscari (also known as La Malcontenta) where Giovanni Battista Zelotti also worked, and the Palazzo Thiene in Vicenza. Orlando Flacco completed his most extensive work for the Sala Maggior di Consiglio in Verona.