Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.   Related Paintings of GIOTTO di Bondone :. | The Devils Cast our of Arezzo | Anna and Joachim Meet at the Golden Gate | Nativity,Adoration of the Shepherds and the Magi | Last Judgment | Last Judgment |
Related Artists:
RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,
Jean-Paul Laurens
1838-1921 French Jean Paul Laurens Gallery was a French painter and sculptor, and one of the last major exponents of the French Academic style. Born in Fourquevaux, he was a pupil of L??on Cogniet and Alexandre Bida. Strongly anti-clerical and republican, his work was often on historical and religious themes, through which he sought to convey a message of opposition to monarchical and clerical oppression. His erudition and technical mastery were much admired in his time, but in later years his hyper-realistic technique, coupled to a highly theatrical mise-en-sc??ne, came to be regarded as overly didactic and even involuntarily comical. Laurens was commissioned to paint numerous public works by the French Third Republic, including the steel vault of the Paris city hall, the monumental series on the life of Saint Genevieve in the apse of the Panth??on, the decorated ceiling of the Od??on Theater, and the hall of distinguished citizens at the Toulouse capitol. He also provided illustrations for Augustin Thierry's R??cits des temps m??rovingiens ("Accounts of Merovingian Times"). Laurens was a professor at the École nationale sup??rieure des Beaux-Arts in Paris, where he taught Andr?? Dunoyer de Segonzac and George Barbier. Two of his sons, Paul Albert Laurens (1870-1934) and Jean-Pierre Laurens (1875-1932), became painters and teachers at the Acad??mie Julian. He died in Paris in 1921.
Jacob Huysmans
1633-1696 Flemish Jacob Huysmans Gallery Jacob Huysmans (c.1633?C1696), was a Flemish portrait painter. He moved to England during the reign of Charles II where he became one of the fashionable painters of the court. His chief portraits are those of Izaak Walton and Catherine of Braganza, Charles II's wife (both displayed on the National Gallery, London). He was a pupil of Gilles Backereel and Frans Wouters and came over to England from - presumably - Antwerp. His first works were pastiches of work from Anthony van Dyck. As a Roman Catholic he was favoured by Catharine of Braganza. When Samuel Pepys visited his workshop in Westminster on 26 August 1664, he described him as a 'picture-drawer ... which is said to exceed Lilly (Lely). Huysmans's most important portrait of Catharine of Braganza, Queen Catharine as a Shepherdess (c. 1664; Brit. Royal Col.), was one of the pictures Pepys saw on that occasion. Painting his subjects as sheperdesses with clothing embellished with embroidery and jewellery were typical of his style.