Italian High Renaissance Painter, 1477-1549 Sienese painter, whose real name was Giovanni Antonio Bazzi. Born in Vercelli, Piedmont, he went to Rome c.1508. Commissioned by Pope Julius II, he painted frescoes in the Camera della Segnatura in the Vatican. Raphael's frescoes afterward replaced most of his work there. For Agostino Chigi in the Farnesina Villa, Sodoma painted two frescoes, The Marriage of Alexander and Alexander in the Tent of Darius. In Siena and its vicinity he produced many works, executed in a saccharine style.  Related Paintings of SODOMA, Il :. | The Death of Lucretia kjh | Nativity with an Angel and St.John | Ecce Homo | Pieta wr | The Road to Calvary |
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Vassily Maximov
Russian 1844-1911,was a Russian painter, a prominent member of the Peredvizhniki group. Maximov was born to a peasant family in the village of Lopino near Novaya Ladoga. He became an orphan early and worked for an Iconpainting shop, where he first learned to paint. In 1863 he entered the Imperial Academy of Arts and in 1864 he became a member of an Artel of Artists created by P.N. Krestonovtsev by the example of Ivan Kramskoi. The artel existed only one year and was then disbanded. Maximov painted the Sick Child (1864) at that time, when received a Gold Medal of the Academia. He completed all the courses of the Academy in three years. In 1865 he (like the group of fourteen led by Ivan Kramskoi had done earlier) refused to take part in the competitions for the Major Gold Medal by Academia. He argued that he did not need to study abroad (that was a part of the prize) but rather would study the Russian village. Indeed, after graduation from the Academia he moved to the village of Shubino, in the gubernia of Tver, where he painted the peasant life, earning money as a painting teacher of the Princes Golenischev Kutuzov (descendants of Mikhail Illarionovich Kutuzov). His painting Grandmother tales (1867) was shown at a Peredvizhniki exhibition, where it won a prize and was bought by Pavel Tretyakov. In 1872 he was admitted to the Peredvizhniki group, and soon became one of its most prominent and rigorous members. Ilya Yefimovich Repin described Maximov as the most uncrushable stone in the foundation of peredvizhnechestvo. Maximov painted many paintings of the peasant life. In the last twenty years of his life, realism paintings fell out of fashion. Maximov still painted almost exclusively scenes of the peasant lives that had almost no buyers. The artist lived a life full of poverty and illnesses. He died in Saint Petersburg.
Francois de Troy
French Baroque Era Painter, 1645-1730 was a French painter and engraver who became principal painter to King James II in exile at Saint-Germain-en-Laye and Director of the Academie Royale de peinture et de sculpture. One of a family of artists, Troy was born in Toulouse, the son of Nicolas de Troy (1608 - 15 September 1684), a painter in that city,and was the brother of Jean de Troy (4 April 1638 - 25 June 1691).Troy was taught the basic skills of painting by his father, and perhaps also by the more worldly Antoine Durand. François de Troy is not to be confused with his son, the portrait painter Jean-François de Troy (1679-1752), who studied under him At some time after 1662, Troy went to Paris to study portrait painting under Claude Lefebvre (1633-1675) and Nicolas-Pierre Loir (1624 - C1679]. A. P. F. Robert-Dumesnil states that this occurred when Troy was aged twenty-four. In 1669, Troy married his master Nicolas-Pierre Loir's sister-in-law, Jeanne Cotelle. In 1671, he was approved by the Academie Royale de peinture et de sculpture. In 1674, he was received into the Academy as a history painter, with a reception piece (morceau de reception) entitled Mercure coupant la tete d'Argus ('Mercury cutting off the head of Argus'). Troy's early known works include tapestry designs for Madame de Montespan, one of the many mistresses of Louis XIV of France, and paintings with religious and mythological subjects. In the 1670s, he became friendly with Roger de Piles, who introduced him to Dutch and Flemish painting,
Simone Martini
1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.