1255-1318 Italian Duccio di Buoninsegna Locations Italian painter. He was one of the most important painters of the 14th century and like his slightly younger contemporary, Giotto, was a major influence on the course of Italian painting. An innovator, he introduced into Sienese painting new altarpiece designs, a dramatic use of landscape, expressive emotional relationships, extremely complex spatial structures and a subtle interplay of colour. His most important and revolutionary work, the Maeste for Siena Cathedral, was never matched during the 14th century, if at all, and his influence lasted well into the 15th century.  Related Paintings of Duccio di Buoninsegna :. | Madonna and Child Enthroned with Angels and Saints | St Magdalen | Window ds | Crevole Madonna (detail) sdg | Maesta |
Related Artists:
BLES, Herri met de
Flemish Northern Renaissance Painter, ca.1510-1550 Flemish painter. Both van Mander and Lampsonius recorded Bouvines as his birthplace, although Guicciardini gave it as Dinant. The identification of Herri met de Bles with Herry de Patinir, who was a master of the Antwerp Guild of St Luke in 1535, is generally accepted. He may have been related to Joachim Patinir, possibly a nephew. In the Pictorum aliquot celebrium Germaniae Inferioris effigies (Antwerp, 1572) of Domenicus Lampsonius, Henricus Blesius Bovinati pictori is portrayed aged 40, sporting the type of clothing and beard that were fashionable in 1550.
Cohoon Hannah
American painter b.1788 d.1864
FONTANA, Lavinia
Italian Painter, 1552-1614 Daughter of Prospero Fontana. She was trained by her father and followed his Mannerist style. Her first recorded works, which date from 1575, were small paintings for private devotion, such as the Holy Family (Dresden, Gemeldegal.). By 1577 she had become established as a portrait painter in Bologna. Works of this date include the Self-portrait at the Harpsichord (Rome, Gal. Accad. S Luca) and the portrait of Senator Orsini (Bordeaux, Mus. B.-A.). Her portrait style reflects the formality of central Italian models as well as the naturalistic tendencies of the north Italian tradition. The elegantly costumed Orsini is shown seated at a table, with a suite of rooms opening behind him, a setting recalling such Florentine portraits of the 1530s as Agnolo Bronzino's Bartolommeo Panciatichi (Florence, Uffizi). Lavinia used a similar setting for other portraits, including the Gozzadini Family (1584; Bologna, Pin. N.). Female sitters are also shown in elaborate dress, with particular attention paid to details of embroidery and jewels, and they are often accompanied by small dogs