Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | Portrait of a Man (mk33) | Venus Wuerbinnuo | Saint John the Baptist | Venus of Urbino | The Pardo Venus (mk05) |
Related Artists:
BONFIGLI, Benedetto
Italian painter, Umbrian school (b. ca. 1420, Perugia, d. 1496, Perugia) Benedetto Bonfigli (c. 1420?CJuly 8, 1496) was an Italian painter of the Quattrocento born in Perugia, and active around Umbria. He is also known as Buonfiglio. He was the teacher of the painter Pietro Perugino. His earliest work was an ' Annunciation,' originally in the Orfanelli at Perugia. His masterpiece is a series of frescoes in the Palazzo del Consiglio in the same city, which represent the Lives of St. Louis of Toulouse and St. Herculanus; they were begun in 1454 and not finished in 1496, in which year Bonfigli's will is dated. An Adoration of the Magi (c. 1460) was painted for San Domenico. A Banner (gonfalone) was painted in 1465 for the brotherhood of San Bernardino, and representing the deeds of their patron saint; another Gonfalone painted for the brotherhood of San Fiorenzo in 1476, in honor of the Virgin, who had been prayed to intercede for the cessation of the plague. He painted a Virgin of Mercy' (1478) for the church of the Commenda di Santa Croce; and several others in and around Perugia. He was much influenced by Domenico Veneziano and Pietro della Francesca. He also painted frescoes of Sant Ercolano and San Ludovico (1454) for the Palazzo del Consiglio. He died in Perugia.
Lyon, Corneille de
Dutch practicing in France, approx. 1500-1575 Dutch painter, active in France. It is uncertain whether he was apprenticed in his native city of The Hague or in Antwerp, and nothing is known of him before 1533, when he was recorded in Lyon. It was possibly in the same year, while the French court was resident in Lyon, that Corneille was made painter to Queen Eleanor, the second wife of Francis I. In 1541 Corneille was painter to the Dauphin (later Henry II), and when the new king succeeded to the throne (1547) and made his state entry into Lyon in 1548, Corneille became Peintre du Roi. Corneille had obtained his naturalization papers in December 1547 and retained French nationality for the rest of his life. He married Marguerite Fradin, the daughter of a Lyon printer of some importance, and this allowed him to enter Lyon society. His studio was extremely prosperous until c. 1565, the year he is known to have visited Antwerp, but disappeared completely after his death despite the fact that he founded a dynasty of painters. His sons Corneille de La Haye II (b 1543) and Jacques de La Haye and his daughter Cl?mence de La Haye were all painters, and the family continued to be known for its artists until the 18th century. Corneille de Lyon was a Protestant, like all those in the circles in which he moved, and it may be that the decline of his fortunes in the 1560s was precipitated by the reversion of Lyon to the Catholic faction
Pieter de Grebber
1600-1653 Dutch Pieter de Grebber Gallery Grebber was the son of Frans Pietersz de Grebber (1573?C1643), a painter and embroiderer in Haarlem, and would have been taught painting by his father and by Hendrick Goltzius. He was descended from a Catholic and artistic family (2 of his brothers, and his sister Maria, the mother-in-law of Gabriel Metsu, were known as painters). He was friendly with the priest and musicologist Jan Albertszoon Ban, and had a poem set to music by the Haarlem composer Cornelis Padbru??. In 1618, father and son went to Antwerp and negotiated with Peter Paul Rubens over the sale of his painting "Daniel in the lions pit". It was then handed - via the English ambassador in the Republic, Sir Dudley Carleton - to king Charles I. Pieter got important commissions not only in Haarlem, but also from the stadholder Frederik Hendrik. As such, he worked with on the decoration of the Huis Honselaarsdijk in Naaldwijk and at the Paleis Noordeinde in Huis ten Bosch in the Hague. He painted altar pieces for churches in Flanders and hidden Catholic churches in the Republic. He may also have worked for Danish clients.