Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s   Related Paintings of Sandro Botticelli :. | Bardi Altarpiece (mk36) | Young kneeling Mago (mk36) | Pallas and the Centaure | Stories of Virginia | Madonna and Child with Six Saints |
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Andreas Schelfhout
(February 16, 1787, The Hague - April 19, 1870, The Hague) was a Dutch painter, etcher and lithographer, known for his landscape paintings. He belongs to the Romantic movement. His Dutch winter scenes and frozen canals with skaters were already famous during his lifetime. He became one of the most influential Dutch landscape artists of his century. He started as a house painter in the framing business of his father. He already started painting pictures in his spare time. After a well-received first exhibition in The Hague, his father sent him to receive proper training to Joannes Breckenheimer (1772-1856), a stage designer, in The Hague. He learned not only the technical aspects of painting, but also made detailed studies of the 17th-century Dutch landscape artists Meindert Hobbema en Jacob van Ruisdael. In 1815 he started his own workshop. Through his technical excellence and sense of composition and his use of naturalistic colours, he soon became famous also outside The Hague. In 1819 he was awarded the Gold Medal at the exhibition in Antwerp. In 1818 he became a member of the Royal Academy for Visual Arts of Amsterdam. He reputation continued to grow and in1822 he was given the rank of Fourth Class Correspondent of the Royal Dutch Institute. From then on, one exhibition followed after another. Initially he painted mainly summer scenes, beach scenes, and animal paintings. But as his initial winter scenes even had more success, he began to include them in his exhibitions. He was mainly a studio artist, relying on his sketches done en plein air. His sketchbook Liber Veritatis (Book of Truth) shows that he made about twenty paintings a year, among them a few foreign views. This indicated that he travelled abroad around 1825. In later years he visited France in 1833, England in 1835 (especially to study the works of Constable) and Germany. He provided training to several painters who would become famous in their own right : Johan Hendrik Weissenbruch, Johan Jongkind (one of the forerunners of the Impressionists), Charles Leickert, Jan Willem van Borselen, Nicholas Roosenboom, Willem Troost, the American Hudson River School Painter Louis Remy Mignot and his son-in-law Wijnand Nuyen. At the end of his career he put together a series of eighty landscape drawings, mainly recordings of previous paintings and watercolours. They were drawn in chalk and lightly coloured. His death marked the end of the Romantic period in Holland. He is considered a precursor of the Hague School
Aved, Jacques-Andre-Joseph
French Painter, 1702-1766
Barthelemy Menn
(20 May 1815 - 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of plein-air painting and the paysage intime into Swiss art. Menn was born in Geneva as the youngest son of four to Not (Rhaeto-Romance language form for Louis) Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little known Jean Duboi (1789-1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin (1785-1855) appears to be erroneous. In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Leonard Lugardon (1801-1884), who was a pupil of Baron Gros(1771-1835) and acquainted with Jean-Auguste-Dominique Ingres (1780-1867). There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hebert, Menn reported on the new situation: eEverybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility,e while the education in Ingrese studio has been described by Theophile Silvestre, as follows: 'The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general.e This explains why among Menn's early works there are many copies after the Parthenon frieze that was accessible in Paris in a set of plaster casts at the Ecole des Beaux-Arts since 1816. (Fig. 2). Menn also copied several works by Raffael, Titian (Fig. 3), Veronese and Rubens in the Louvre, and works by Ingres. When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly his compatriot Louis-Leopold Robert (1798-1835), and where he would copy works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingrese studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon presente e la sagesse par son pere et sa mere; Fig.N) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugene Delacroix (1798-1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School, and especially Charles Daubigny (1817-1878). Most importantly, however, Menn became friends with Camille Corot (1796-1875), who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Genevan Bovy family who followed the utopian socialist ideas of Charles Fourier.