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 :. | Birth of Venus | Trinity with Mary Magdalene,St john the Baptist,Tobias and the Angel (mk36) | Filippo Lippi.Madonna with Child and Angels or Uffizi Madonna (mk36) | filippo lippi,Adoration of the Magi (mk36) | The Birth of Venus (mk36) |
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William Strutt
English Painter, ca.1825-1915 was an English artist. Strutt was born in Teignmouth, Devon, England, and came from a family of artists, his grandfather, Joseph Strutt, was a well-known author and artist, his father, William Thomas Strutt, was a good miniature painter. William Strutt enjoyed a student life in Paris, France, and England, studying figurative and history painting. In response to a near-breakdown and problems with his eyes, Strutt decided to visit Australia, arriving 5 July 1850 on the Culloden, where he then married. In Melbourne, Strutt found employment as an illustrator on the short-lived Illustrated Australian Magazine, published by Thomas Ham, as there was little demand for the figurative and history paintings for which he was trained. Some of his designs did, however, lead to commissions, including a design for a new postage stamp, and an Anti-Transportation League card. Despite the lack of interest for major history paintings in Melbourne, Strutt continued to sketch suitable subjects, including the "Black Thursday" bushfires, which swept over the colony on 6 February 1851. It was from these sketches that Strutt composed one of his most notable paintings some 10 years later, Black Thursday, February 6th. 1851, 1864, which depicted animals and men fleeing from the fire. In February 1852, Strutt joined the growing tide of men travelling to the gold-fields surrounding Ballarat, Victoria. Despite working in the gold fields for eighteen months he found little success. He returned to Melbourne in mid-1853 and became actively involved in the city's cultural scene, undertaking a number of portrait commissions and joining the Victorian Society of Fine Arts as a founding member. William Strutt, Portrait of John Pascoe Fawkner, founder of Melbourne, 1856: oil on canvas; 61.3 x 51.2 cm. National Library of Australia.Strutt's interest in depicting the notable events of the colony was piqued by the events surrounding the Victorian Exploring Expedition led by Burke and Wills in 1860-61. He made several studies of their preparations at Royal Park, Melbourne, and followed the expedition to its first camp at Essendon, Victoria. Strutt also collected first-hand accounts from the rescue party and from John King,
BERCKHEYDE, Gerrit Adriaensz.
Dutch Baroque Era Painter, 1638-1698 Brother of Job Berckheyde. Gerrit specialized in a particular type of architectural subject, the TOWNSCAPE. His painted work shows a debt not only to Pieter Saenredam's conception of the building portrait but also to Saenredam's refined draughtsmanship and dispassionate attitude; these qualities mark Berckheyde as a classicist and akin to Vermeer. Berckheyde favoured views of monuments on large open squares, a choice that distinguishes him from the other great Dutch townscape painter, Jan van der Heyden, who preferred views along canals in which clarity was sacrificed for pictorial effect.
Aleksander Gierymski
Warsaw 1850-1901 Rome, Brother of Maks Gierymski. He studied (1867) at the Warsaw Drawing Class, then (1868-73) at the Akademie der Bildenden Kenste in Munich under Georg Hiltensperger (1806-90) and Alexander Strehuber (1814-82), and later under Karl Theodor von Piloty. While in Munich he contributed illustrations to Polish, German and Austrian magazines. On a visit to Venice and Verona in 1871 he was especially impressed by the work of 15th-century Venetian artists; this new enthusiasm was reflected in his prize-winning painting of a subject set by the Munich Akademie, a scene from Shakespeare's Merchant of Venice (1872; destr., see Starzynski, pl. 4). After accompanying his dying brother Maks to various spa towns and other locations, he settled in Rome in mid-1874. Two genre scenes from this period, Roman Tavern and A Game of Mora (both 1874; Warsaw, N. Mus.), show the influence of Dutch painting. Gierymski remained in Italy until 1879, mostly resident in Rome.