Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).Painter and draughtsman. He painted light and colourful religious, historical and mythological subjects with a fluid, painterly touch. His rediscovery of Paolo Veronese, whose settings and costumes he borrowed, was important to later Venetian painters. Sebastiano was an itinerant artist, celebrated throughout Europe.   Related Paintings of RICCI, Sebastiano :. | Allegory of France as Minerva or Wisdom Who Treads Ignorance Underfoot and Crowns Martial Virtue (mk05) | Paul III Appointing His Son Pier Luigi to Duke of Piacenza and Parma dt | St Pius, St Thomas of Aquino and St Peter Martyr | The Liberation of St Peter | Dream of Aesculapius |
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Jacopo Torriti
Italian painter, Roman school active c. 1270-1300, Italian painter and mosaicist. Two mosaics in Rome are signed by him: one, on the apse of S Giovanni in Laterano, that once bore the date 1291 (or, according to some sources, 1290 or 1292); and another on the apse and triumphal arch of S Maria Maggiore, now replaced by a 19th-century restoration but at one time dated 1295 or 1296. Torriti is also known to have executed a mosaic for Arnolfo di Cambio's tomb of Pope Boniface VIII (1296; destr.; see ARNOLFO DI CAMBIO) in Old St Peter's, Rome. Torriti was active during the same period as Cimabue and Giotto, Pietro Cavallini and Arnolfo di Cambio, but his fame has been obscured by theirs, no doubt because of his closer links with Byzantine art. He was nevertheless one of the most important artists working in Rome during the papacy of Nicholas IV (1288-92) and was entrusted with some of the most prestigious commissions of the day.
Maso da San Friano
(1536-1571) was an Italian painter active in Florence. His real name was Tomaso D'Antonio Manzuoli. He was born in San Friano and died in Florence. According to Giorgio Vasari, Maso was a pupil of Pier Francesco Foschi while others claim it was Carlo Portelli. He collaborated with an elder Michelangelo on some projects. His altarpiece of the Visitation was painted in 1560 for the church of San Pier Maggiore of Florence - now in Trinity Hall Chapel, Cambridge, England. A similar work can be seen in the Prato cathedral. After 1561, he painted in the church of Ognissanti, Florence and in the church of Santa Felicita. He participated in the decoration of the Studiolo of Francesco I with an oval canvas relating the Fall of Icarus story (1572). The canvas has an affected milling in individuals below and an anomalous perspective; both are classic features of mannerist painting. His second contribution Mining of Diamonds. A portrait of Ferdinando I de' Medici (1570) by Maso can be found in the Town Council Hall of Prato. He is thought to be one of part of the Contra-Maniera or Counter-Mannerism movement in Florence. His most important pupils were Jacopo da Empoli and Alessandro Fei. One of his paintings, thought to be of Cosimo I de Medici in 1560, is believed to be the oldest to show a watch
maurice de vlaminck
maurice de vlaminck,1876 to 1958,French painter, printmaker, draughtsman and writer. His nature, character, tastes and way of life were in perfect harmony with the freedom, daring and violence of his painting. He was brought up in a musical environment: his father, of Flemish origin, was a violin teacher and his mother, from Lorraine, was a piano teacher. He studied music himself to quite a high standard and later played the double-bass (and sometimes the bass drum, a source of considerable pleasure) in his regimental band. His family had come to live at Le V?sinet near Paris, and he spent his childhood both there and later at Chatou on the Seine. From 1892 he began to take an interest in painting, though he worked as a mechanic and became a racing cyclist.