Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,   Related Paintings of RAFFAELLO Sanzio :. | The Holy Family | Double Portrait | Kadalina | Portrait of Pietro Bembo | The annunciation |
Related Artists:
Wilhelm Trubner
German, 1851-1917 was a German realist painter of the circle of Wilhelm Leibl. Trubner was born in Heidelberg and had early training as a goldsmith. In 1867 he met classicist painter Anselm Feuerbach who encouraged him to study painting, and he began studies in Karlsruhe under Fedor Dietz. The next year saw him studying at the Kunstacademie in Munich, where he was to be greatly impressed by an international exhibition of paintings by Leibl and Gustave Courbet. Courbet visited Munich in 1869, not only exhibiting his work but demonstrating his alla prima method of working quickly from nature in public performances. This had an immediate impact on many of the city's young artists, who found Courbet's approach an invigorating alternative to the shopworn academic tradition. The early 1870s were a period of discovery for Tr??bner. He travelled to Italy, Holland and Belgium, and in Paris encountered the art of Manet, whose influence can be seen in the spontaneous yet restrained style of Trubner's portraits and landscapes. During this period he also made the acquaintance of Carl Schuch, Albert Lang and Hans Thoma, German painters who, like Trubner, greatly admired the unsentimental realism of Wilhelm Leibl. This group of artists came to be known as the "Leibl circle". He published writings on art theory in 1892 and 1898, which express above all the idea that "beauty must lie in the painting itself, not in the subject". By urging the viewer to discover beauty in a painting's formal values, its colors, proportions, and surface, Trubner advanced a philosophy of "art for art's sake".
Paul-Camille Guigou
1834-1871 French Paul Camille Guigou Gallery French painter. Born into a family of landowners, he became a notary's clerk at Apt in 1851 and then in 1854 at Marseille. He learnt to paint with Camp, a teacher at the school in Apt, and then at Marseille with Emile Loubon (1809-63), director of the local Ecole des Beaux-Arts, who urged him (according to Guigou's biographers) to paint directly from nature. Guigou settled in Marseille in 1854, where he participated regularly in the annual Salon of the Societe Artistique des Bouches-du-Rhene. Guigou painted almost exclusively Proven?al landscapes, which were influenced by the works of the Barbizon painters, who exhibited in Marseille, and by the brownish tones and picturesque figures of Loubon's paintings. The Road to Gineste (1859) and The Washerwoman (1860; both Paris, Mus. d'Orsay) reflect the independent tradition of Proveneal painting during the Second Empire, which was characterized by warm colouring and precise lighting used to separate and distinguish forms. His knowledge of the works of Gustave Courbet, acquired during a visit to Paris in 1859, doubtless increased his liking for broad technique and sincere vision, articulated in a strong and ordered construction of space: for example, The Gorges of the Luberon (c. 1861; Amiens, Mus. Picardie).
ROMANELLI, Giovanni Francesco
Italian painter, Roman school (b. 1610, Viterbo, d.1662, Viterbo). Italian painter and draughtsman. He was the pupil first of Domenichino, then of Pietro da Cortona; his work also shows the influence of Bernini (in some of whose projects he became involved) and of Poussin. His calm and graceful synthesis of these extremes of austere Baroque classicism and High Baroque ebullience was prophetic of the effects of the Roman Late Baroque and of the generalized style of public painting that spread throughout Europe in the late 17th century and the early 18th.