Related Paintings of Matthias Grunewald :. | The Mocking of Christ | The Small Crucifixion | The Disputation of St.Erasmus and St.Maurice | The Stuppach Madonna | The Isenheimer Altarpiece |
Related Artists:
BATONI, Pompeo
Italian Rococo Era Painter, 1708-1787 He was born in Lucca, the son of a goldsmith, Paolino Batoni. He moved to Rome in 1727, and apprenticed with Agostino Masucci, Sebastiano Conca and/or Francesco Imperiale (1679-1740). By the early 1740s, however, he started to receive independent commissions. In 1741, he was inducted into the Accademia di San Luca. His celebrated painting, The Ecstasy of Saint Catherine of Siena (1743) illustrates his academic refinement of the late-Baroque style. Another masterpiece, his Fall of Simon Magus was painted initially for the St Peter's Basilica. Batoni became a highly-fashionable painter in Rome, particularly after his rival, the proto-neoclassicist Anton Raphael Mengs, departed for Spain in 1761. Batoni befriended Winckelmann and, like him, aimed in his painting to the restrained classicism of painters from earlier centuries, such as Raphael and Poussin, rather than to the work of the Venetian artists then in vogue. He was greatly in demand for portraits, particularly by the British traveling through Rome , who took pleasure in commissioning standing portraits set in the milieu of antiquities, ruins, and works of art. There are records of over 200 portraits by Batoni of visiting British patrons . Such "Grand Tour" portraits by Batoni came to proliferate in the British private collections, thus ensuring the genre's popularity in the United Kingdom, where Sir Joshua Reynolds would become its leading practitioner. In 1760, the painter Benjamin West, while visiting Rome would complain that Italian artists "talked of nothing, looked at nothing but the works of Pompeo Batoni". In 1769, the double portrait of Joseph II and Leopold II won an Austrian nobility for Batoni. He also portrayed Pope Pius VI. According to a rumor, he bequeathed his palette and brushes to Jacques-Louis David.
NUVOLONE, Panfilo
Italian painter, Lombard school (1581-1651) After studying with Giovanni Battista Trotti, he moved to Milan, where he is recorded in 1610. The influence of Trotti and of late Cremonese Mannerism is evident in his first known work, SS Nicholas and Costanza Adoring a Miraculous Image of the Virgin (1607; Can?nica d'Adda, S Giovanni Evangelista). In his paintings of scenes from the Life of Samson (1610-14; Milan, S Angelo, Cappella Sansoni) Nuvolone moved away from Trotti, exaggerating the size of the figures and defining form with an academic clarity reminiscent of the contemporary art of Camillo Procaccini. There followed, shortly after the work in S Angelo, frescoes of the Coronation of the Virgin and other scenes in the presbytery of S Maria della Passione in Milan, and, in 1614, a lunette of the Angel Announcing to Mary her Approaching Death for S Domenico, Cremona (Cremona, Mus. Civ. Ala Ponzone). In 1620 he painted the Coronation of the Virgin for the Swiss parish church in Milan (in situ). Still tied stylistically to the earlier work in S Maria della Passione, this demonstrates the difficulty Nuvolone experienced in breaking with the late Mannerism of Giovanni Paolo Lomazzo, Giuseppe Meda (d 1599) and Ambrogio Figino and in adapting to new trends in 17th-century Milanese painting. His Virgin and Child with Two Saints (1624; Milan, S Eustorgio), featuring stiff figures and inflated Mannerist drapery with its metallic folds, indicates continued contact with Procaccini. In the same year he was employed in the decoration of the Collegiata di Appiano Gentile, where he painted two scenes from the Life of St Stephen and a Virgin and Child with SS Anthony and Victor. He continued to produce a vast number of repetitive religious works, yet these are less interesting than his still-life paintings, generally of fruit stands with peaches and grapes presented symmetrically against dark backgrounds.
Karel du jardin
1626-78 Dutch painter, etcher and draughtsman. His father was Chaarles de Jardin (Gardyn; c. 1599-before 1650), a fat-renderer, and his mother was Catalyn Borchout (1588-before 1650). They had at least one other child, Herbert, who must have died by 1651