Gentile da Fabriano
Gentile da Fabriano Locations
Gentile da Fabriano, whose real name was Gentile di Niccolo di Giovanni di Massio, came from Fabriano in the Marches. According to tradition, his family was an old one and moderately prosperous. His father, who was said to have been a scholar, mathematician, and astrologer, became an Olivetan monk when a monastery of that order was established in Fabriano in 1397. Gentile brother, Ludovico, was a monk of the same order in Fabriano, and Gentile himself was living in the Olivetan monastery of S. Maria Nuova in Rome at the time of his death. A document of Oct. 14, 1427, speaks of him as dead.
Gentile art indicates that he was probably trained in Lombardy, perhaps in Milan. He worked in the then current International Gothic style, to which he brought his own personal quality. His earliest works display the decorative rhythmic drapery patterns preferred by the International Gothic masters, which Gentile tempered and ultimately abandoned after his contact with Florentine art.
In a document of 1408 Gentile is recorded in Venice, where he painted an altarpiece (now lost) for Francesco Amadi. Testifying to his high reputation was his commission in 1409 for frescoes in the Doges Palace in Venice (painted over in 1479). Pandolfo Malatesta commissioned Gentile to decorate a chapel (destroyed) in Brescia in 1414. The artist is last recorded in Brescia on Sept. 18, 1419, when he departed for Rome to answer the summons of Pope Martin V. Gentile name first appeared on the roll of painters in Florence in 1421. He was in Siena in 1420 and 1424-1425 and in Orvieto late in 1425. From 1426 until the time of his death he was in Rome.
Typical of Gentile early style is the polyptych (ca. 1400) from the convent of Valle Romita in Fabriano, in which Gentile displays the International Gothic love for naturalistic detail in the floral turf beneath the feet of the graceful, slender saints whose figures are swathed in rhythmic, linear drapery. The central panel, the Coronation of the Virgin, shows the love for calligraphic drapery so characteristic of Gentile early style. Other noteworthy early works include the much damaged Madonna in Perugia and the Madonna with Saints and Donor in Berlin.
The altarpiece Adoration of the Magi, signed and dated 1423, was Gentile major work in Florence. In remarkably good condition, with its original frame still intact, it shows Gentile Gothicism now tempered by his contact with the more austere art of Florence. The rich display of gold leaf and brilliant colors were favorite International Gothic traits, but in the interest in perspective and foreshortening and especially in the exquisite predella panels Gentile shows the influence of the Florentines.
The altarpiece for the Quaratesi family, signed and dated 1425, also demonstrates the composite quality of Gentile art. The fresco Madonna Enthroned in Orvieto Cathedral of late 1425 has few traces of the International Gothic style and displays a corporeality and fullness in keeping with his evolution after Florence. His last works, the frescoes in St. John Lateran in Rome depicting the life of John the Baptist and grisaille portraits of saints, were destroyed in 1647, when Francesco Borromini reconstructed the interior. Related Paintings of Gentile da Fabriano :. | Quaratesi Polyptych | The Adoration of the Magi3 | The Adoration of the Magi 6 | Details of Madonna and child,with sts.lawrence and julian | Four Saints of the Quaratesi Polyptych |
Related Artists:Martinus Rorbye
(17 May 1803 - 29 August 1848) was a Danish painter, known both for genre works and landscapes. He was a central figure of the Golden Age of Danish painting during the first half of the 19th century.
The most traveled of the Danish Golden Age painters, he traveled both north to Norway and Sweden and south to Italy, Greece and Constantinople. He was also the first Danish painter to take to painting in Skagen at the northern top of Jutland, almost half a century before the thriving community of Skagen Painters formed and came to fame.
Martinus Rørbye was born in Drammen in Norway to Danish parents Ferdinand Henrik Rørbye and his wife Frederikke Eleonore Catherine de Stockfleth. His father was a warehouse manager and later Superintendent of War, and had moved the family to Norway shortly before Martinus' birth. The family returned to Denmark when Martinus was 12 years old, shortly after the cession of Norway from Denmark in 1814.
Martinus was not inclined to schooling, but in 1820 started his studies at the Royal Danish Academy of Fine Arts at 17 years of age. He studied under Christian August Lorentzen and Christoffer Wilhelm Eckersberg, a strong influence on a generation of artists during the Danish Golden Age. Rørbye was a favorite student of Eckersberg, and they formed a close association. He took to Eckersberges careful attention to nature and his strivings to capture details realistically. He was also greatly influenced by Lorentzenes use of color.
He won the Academyes small silver medal in 1824, and the large silver medal in 1828. He competed for the gold medal and won a cash prize. In 1829 he won the small gold medal for his painting Christ healing the blind, which remains in the ownership of the Royal Danish Academy. He never won the large gold medal in spite of repeated attempts.
Italian Baroque Era Painter ,
was an Italian painter and architect of the late Mannerist and early Baroque period, trained and active in his early career in Florence, and spending the last nine years of his life in Rome. Lodovico Cardi was born at Villa Castelvecchio di Cigoli, in Tuscany, whence the name by which he is commonly known. Initially, Cigoli trained in Florence under the fervid mannerist Alessandro Allori. Later, influenced by the most prominent of the Contra-Maniera painters, Santi di Tito, as well as by Barocci, Cigoli shed the shackles of mannerism and infused his later paintings with an expressionism often lacking from 16th century Florentine painting. For example, for the Roman patron, Massimo Massimi, he painted an Ecce Homo (now in Palazzo Pitti). Supposedly unbenknownst to any of the painters, two other prominent contemporary painters, Passignano and Caravaggio, had been requested canvases on the same theme. It is unclear if they are completely independent. Cigoli's painting seems to have been made with knowledge of Caravaggio's canvas; however, while Cigoli's work lacks the power of Caravaggio's naturalism, the background shade and sparse foreground shows how much he was moving away from crowded Florentine historical paintings. This work was afterwards taken by Bonaparte to the Louvre, and was restored to Florence in 1815. One of his early paintings was of Cain slaying Abel.Thomas Rowlandson
English Illustrator, 1756-1827,English caricaturist, watercolourist, draughtsman and engraver. Although he is commonly thought of as a satirist, most of his drawings are gently humorous, and in some cases objective, records of urban and rustic life. With the exception of a small number of topographical drawings, they are characterized by an abundance of picaresque incidents, whether robust or sentimental, and have much in common with the novels of Laurence Sterne and Henry Fielding, which Rowlandson illustrated in 1808 and 1809.