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 :. | Head | Portrait of a Man (mk33) | The Entombment | Portrait of the Doge Francesco Venier | Retrato de un principe Barberini |
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SIRANI, Elisabetta
Italian Baroque Era Painter, 1638-1665 Italian painter. She was the daughter of Giovanni Andrea Sirani (1610-70), who had been Guido Reni's principal assistant. Encouraged by Carlo Malvasia, her mentor and eventual biographer, she was painting professionally by the age of 17. Her prolific talent, as well as her reputed beauty and modesty, soon brought her European renown. The details of her training are unclear, but as a woman she would not have had access to an academy and (like many other professional women painters prior to the 20th century) she was probably taught by her father. Her sisters Anna Maria (1645-1715) and Barbara (alive in 1678) were also practising artists and Elisabetta herself is known to have had female students. As women, they could not undertake any formal study of the male nude, and Sirani's weakness in depicting male anatomy is sometimes clearly detectable in her work Sirani's drawings employ a highly individual pen-and-wash method, eschewing outline and employing quick, blunt strokes of barely dilute ink to create striking chiaroscuro effects
Giovanni Agostino da Lodi
was an Italian painter who was active from c. 1495 to c. 1525. The attribution of his works has been dubious for centuries, until his style and career was defined by the American art historian Bernard Berenson in the 1960s. One of his first identified work is the Pala dei Barcaioli ("Boatmen Altarpiece") in the church of San Pietro Martire at Murano. His only signed work is the St. Peter and St. John the Evangelist in the Pinacoteca di Brera, which shows Lombard influeces, such as that of Bramantino. Later he was also influenced by Leonardo da Vinci's style, as visible in the Christ Washing the Feet of the Apostles in the Gallerie dell'Accademia of Venice. After moving to Venice in the wake of Ludovico Sforza's fall, he returned to Milan in 1506. He subsequently executed works for privates and for the Certosa di Pavia; one of his late works, the Calvary, is housed in the National Gallery in Prague. He also collaborated with Marco d'Oggiono for a polyptych in the church of Santa Maria della Pace in Milan, some panels of which are now in the Pinacoteca di Brera.
BOSSCHAERT, Jan-Baptist
Flemish painter (1667-1746)