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 :. | St Peter | Mary Magdalene-s Voyage to Marseilles | Joachims Traum | Daedalus after | Joachim-s Sacrificial Offering |
Related Artists:
Koloman Moser
Koloman Moser (German pronunciation: [ˈkoːloman ˈmoːzɐ]) (March 30, 1868 - October 18, 1918) was an Austrian artist who exerted considerable influence on twentieth-century graphic art and one of the foremost artists of the Vienna Secession movement and a co-founder of Wiener Werkstätte. During his life, Moser designed a wide array of art works - books and graphic works from postage stamps to magazine vignettes; fashion; stained glass windows, porcelains and ceramics, blown glass, tableware, silver, jewelry, and furniture - to name a few of his interests. Born in Vienna, he studied at the Wiener Akademie and the Kunstgewerbeschule, where he also taught from 1899. His designs in architecture, furniture, jewelry, graphics, and tapestries helped characterize the work of this era. Moser drew upon the clean lines and repetitive motifs of classical Greek and Roman art and architecture in reaction to the Baroque decadence of his turn-of-the-century Viennese surroundings. In 1901/1902, he published a portfolio titled Die Quelle ("The Source") of elegant graphic designs for such things as tapestries, fabrics, and wallpaper. In 1903, Moser and his colleague Josef Hoffmann founded Wiener Werkstätte, whose studios and artisans produced a number of aesthetically and functionally designed household goods, including glassware, flatware, silverware, and textiles. In 1904, he created the Apse mosaic and glass windows for the Kirche am Steinhof in Vienna. Steinhof Church commemorative coin In 1905, together with the Klimt group, he separated from the Vienna Secession. The same year, he married Editha (Ditha) Mautner von Markhof, the daughter to one of Austria's great industry fortunes. In 1907 Kolo Moser, due to internal conflicts and as his plans for reorganising the Werkstätte (to cope with financial problems) weren't realised, withdrew from the Wiener Werkstätte. Koloman was one of the designers for Austria's leading art journal Ver Sacrum. This art journal paid great attention to design and was designed mainly by Moser, Gustav Klimt and Josef Hoffmann.
Christoph Paudiss
German,Christoph Paudiss, ca.1618-1666
Karl Briullov
Russian Neoclassical/Romantic Painter, 1799-1852,was an internationally renowned Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism. Born of French parents in Saint Petersburg, Carlo Brulleau (as his name was spelled until 1822) felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809?C1821), Briullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Briullov. After distinguishing himself as a promising and imaginative student and finishing his education, he left Russia for Rome where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting. His best-known work, The Last Day of Pompeii (1830?C1833), is a vast composition compared by Pushkin and Gogol to the best works of Rubens and Van Dyck. It created a sensation in Italy and established Briullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in the Imperial Academy of Arts.