Flemish painter (b. ca. 1480, Bouvignes, d. 1524, Antwerpen).   Related Paintings of PATENIER, Joachim :. | Landscape with St John the Baptist Preaching a | Temptation of St Anthony ag | St Christopher Bearing the Christ Child af | Baptism of Christ | Rocky Landscape with Saint Jerome af |
Related Artists:
Vigilius Erichsen
1772-1782 Danish Vigilius Erichsen Location
Kole Idromeno
Kolë Idromeno (1860-1939) was an Albanian painter, sculptor, photographer, architect and engineer. He was born in Shkodër, where he learned the first elements of photography from Pietro Marubi. In 1876 he stayed for some months at the Academy of Fine Arts in Venice (Accademia di Belle Arti di Venezia), and then worked in the studio of an Italian painter. When back in Albania (1878), he engaged himself in a number of different activities, working as an architect, sculptor, photographer, scene-painter, engineer and painter. He was the initiator of the first art exhibition in Shkodër (1923) and was represented in the first national art exhibition in Tirana (1931). He established a very active photographic studio. Idromeno was the first painter to show motion pictures in Albania in 1912. He had kept up a correspondence with the Lumiere brothers in Paris.
GIOTTO di Bondone
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.