Visualizzazione post con etichetta 15th century Art. Mostra tutti i post
Visualizzazione post con etichetta 15th century Art. Mostra tutti i post
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Marco d'Oggiono | Leonardo's pupil

Marco d'Oggiono (1470-1549) was an Italian Renaissance painter and a chief pupil of Leonardo da Vinci, many of whose works he copied.
He was born at Oggiono near Milan.
Of the details of his life, we know almost nothing - not even the date of his important series of frescoes painted for the church of Santa Maria della Pace in Milan. He probably died in Milan.
Luigi Lanzi gave 1530 as the date of his death, but various writers in Milan say it took place in 1540, and now the best accepted date is 1549.


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Ambrogio de Predis | Renaissance painter

Giovanni Ambrogio de Predis (1455-1508) was an Italian Renaissance painter, illuminator and designer of coins active in Milan.
Ambrogio gained a reputation as a portraitist, including as a painter of miniatures, at the court of Ludovico Sforza.

Life

Ambrogio de Predis was born in a family of artists from Lombardy.


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Gaudenzio Ferrari | The Concert of Angels, 1534-1536

The Concert of Angels is a Fresco created between 1534 and 1536 by Gaudenzio Ferrari (c. 1471 - January 11, 1546) a Northern Italian painter** and sculptor of the Renaissance** and housed in Sanktuarium Santa Maria delle Grazie, Saronno, Italy.

Gaudenzio Ferrari was born to Franchino Ferrari at Valduggia in the Valsesia in the Duchy of Milan. Valduggia is now in the Province of Vercelli in Piedmont. He is said to have first learned the art of painting at Vercelli from Gerolamo Giovenone.


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Sandro Botticelli | Portraits

Sandro Botticelli (c. 1445 - May 17, 1510) painted a number of portraits, although not nearly as many as have been attributed to him.
There are a number of idealized portrait-like paintings of women which probably do not represent a specific person (several closely resemble the Venus in his Venus and Mars).
Traditional gossip links these to the famous beauty Simonetta Vespucci, who died aged twenty-two in 1476, but this seems unlikely.
These figures represent a secular link to his Madonnas.
With one or two exceptions his small independent panel portraits show the sitter no further down the torso than about the bottom of the rib-cage.


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Christine de Pizan | The first professional woman writer

Christine de Pizan or Pisan, born Cristina da Pizzano (1364 - c. 1430), was a poet and author at the court of King Charles VI of France and several French dukes.
Venetian by birth, Christine served as a court writer in medieval France after the death of her husband. Christine's patrons included dukes Louis I of Orleans, Philip the Bold of Burgundy, and his son John the Fearless.
Her best known works include The Book of the City of Ladies and The Treasure of the City of Ladies, both written when she worked for John the Fearless of Burgundy. Her books of advice to princesses, princes, and knights remained in print until the 16th century.

Christine de Pizan - Bibliothèque nationale de France, Département des manuscrits, Français

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The Ladies of the Renaissance

Although women artists have been involved in the making of art throughout history, their work, when compared to that of their male counterparts, has been often obfuscated, overlooked and undervalued.
Many of their works have been wrongly attributed to men artists.
Renaissance Europe was not a promising place for female artists to emerge. Women were expected to marry and have children, and those who did work were not welcomed into male-dominated professions.
In fact women were unable to even receive formal art training (a cornerstone of which was the study of the figure).


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Giorgio Vasari | Vita di Sandro Botticello - Pittor Fiorentino


Ne’ medesimi tempi del Magnifico Lorenzo Vecchio de’ Medici, che fu veramente per le persone d’ingegno un secol d’oro, fiorì ancora Alessandro, chiamato a l’uso nostro Sandro e detto di Botticello per la cagione che appresso vedremo.
Costui fu figliuolo di Mariano Filipepi, cittadino fiorentino dal quale diligentemente allevato e fatto instruire in tutte quelle cose che usanza è di insegnarsi a’ fanciulli in quella età, prima che e’ si ponghino a le botteghe, ancora che agevolmente apprendesse tutto quello che e’ voleva, era nientedimanco inquieto sempre; né si contentava di scuola alcuna, di leggere, di scrivere o di abbaco; di maniera che il padre infastidito di questo cervello sì stravagante, per disperato lo pose a lo orefice con un suo compare chiamato Botticello, assai competente maestro allora in quell’arte.

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Michelangelo Buonarroti | Vita ed Opere


Michelàngelo (o Michelàngiolo; propr. Michelàgnolo) Buonarroti - Architetto, scultore, pittore, poeta (Caprese, od. Caprese Michelangelo, Arezzo, 1475 - Roma 1564). Culmine della civiltà rinascimentale, celebrato come il massimo genio del suo tempo, ne rappresentò anche la drammatica conclusione. Apprendista dal 1487 nella bottega di D. Ghirlandaio, intorno al 1489 venne in contatto presso il giardino di S. Marco, domicilio della collezione di antichità della famiglia Medici, con la statuaria classica e la filosofia neoplatonica, componenti essenziali per lo sviluppo della sua produzione artistica.
Nel 1498 il cardinale J. Bilhères gli commissionò per la sua tomba in S. Petronilla a Roma la Pietà : per il carattere di perfetta armonia, grazia e bellezza, l'opera suscitò universale ammirazione. Tornato a Firenze, Michelàngelo realizzò la statua di David🎨(1501-04), quindi nel 1505 fu di nuovo a Roma per eseguire la tomba di Giulio II in S. Pietro, i cui tormentati lavori si sarebbero protratti per oltre quarant'anni.

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Leonardo da Vinci | Nativity paintings


Giorgio Vasari🎨, in the enlarged edition of Lives of the Artists (1568) introduced his chapter on Leonardo with the following words:
"In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actio ns seem inspired and indeed everything he does clearly comes from God rather than from human skill".

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Fra Angelico | Early Renaissance painter

Fra Angelico, (Italian: “Angelic Brother”) original name Guido di Pietro, also called Fra Giovanni da Fiesole and Beato Angelico (born c. 1400, Vicchio, republic of Florence [Italy] - died Feb. 18, 1455, Rome), Italian painter, one of the greatest 15th-century painters, whose works within the framework of the early Renaissance style embody a serene religious attitude and reflect a strong Classical influence.
A great number of works executed during his career are altarpieces and frescoes created for the church and the priory of San Marco in Florence while he was in residence there.

San Domenico Period

Baptized Guido di Pietro, he appeared in a document of 1417 as a lay painter. Later, between the years 1420-1422, he became a Dominican friar and resided in the priory of San Domenico at Fiesole, there taking the name of Fra Giovanni da Fiesole.
At Fiesole he was probably influenced by the teachings of Giovanni Dominici, the militant leader of the reformed Dominicans; the writings of Dominici defended traditional spirituality against the onslaught of humanism.

Beato Angelico 1395-1455 | Late Gothic and Renaissance painter

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Perugino (Renaissance painter, 1445-1523)

Pietro di Cristoforo Vannucci -il Perugino, was the greatest painter of the Umbrian school, active mainly in Perugia.
He studied under Fiorenzo di Lorenzo, assisted Piero della Francesca at Arezzo, and in the early 1470s was a fellow pupil of Leonardo da Vinci and Lorenzo di Credi in Verrocchio's studio in Florence.
In 1479 Perugino was summoned to Rome by Pope Sixtus IV to help decorate the Sistine Chapel.


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Raphael (1483-1520) | High Renaissance painter


For centuries Raphael has been recognised as the supreme High Renaissance painter, more versatile than Michelangelo and more prolific than their older contemporary Leonardo.
Though he died at 37, Raphael's example as a paragon of classicism dominated the academic tradition of European painting until the mid-19th century.
Raphael (Raffaello Santi) was born in Urbino where his father, Giovanni Santi, was court painter.

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Lorenzo di Credi (1458-1537) High Renaissance painter

Born the son of a goldsmith in 1457 or 1459, Lorenzo di Credi was, with Leonardo da Vinci and Perugino, a pupil in the Florentine workshop of Andrea del Verrocchio, where he is first recorded in 1480 as a poorly paid assistant
During the master's absence in 1482-1483, Lorenzo took over the shop, and he became Verrocchio's heir upon Andrea's death in 1488.
Though not a very original painter, Lorenzo was technically proficient, with the result that the meticulously detailed, enamel-like surfaces of his pictures are, as a rule, better preserved than are the works of his teacher or his fellow pupils.


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Andrea del Verrocchio (1435-1488) | Sculpture works


Andrea del Verrocchio🎨 was 15th-century Florentine sculptor and painter and the teacher of Leonardo da Vinci. His equestrian statue of Bartolomeo Colleoni, erected in Venice in 1496, is particularly important.
The sculptural works either recorded to be by Verrocchio or actually extant are few in number. 
According to his brother Tommaso, Verrocchio was responsible for an inlaid slab (1467) in the Florentine church of San Lorenzo recording the burial place of Cosimo de’ Medici, who died in 1464.

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Andrea del Verròcchio | The Teacher of Leonardo da Vinci | Paintings


Andrea del Verrocchio (born 1435, Florence - died 1488, Venice), 15th-century Florentine sculptor and painter and the teacher of Leonardo da Vinci.
His equestrian statue of Bartolomeo Colleoni, erected in Venice in 1496, is particularly important.
The only surviving painting that according to documentary proof should be by Verrocchio, an altarpiece of the Madonna and Child with Saints in the Donato de’ Medici Chapel of the cathedral at Pistoia, was not completed by the master himself.

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Jan van Eyck (1395-1441) | Renaissance painter


Jan van Eyck was a Flemish painter🎨 active in Bruges. He is one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art.
The surviving records of his early life indicate that he was born around 1380-1390, most likely in Maaseik (then Maaseyck, hence his name), in present-day Belgium.

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Ercole de' Roberti | The miracles of St Vincent Ferrer, 1473


Author: Ercole de' Roberti (Italian Early Renaissance painter, 1450-1496);
Title: The miracles of St Vincent Ferrer;
Date: 1473;
Medium:Tempera on wood;
Dimensions: 30 x 215 cm;
Current location: Vatican Museums

This work by Ercole de' Roberti forms the predella of the altarpiece painted by his teacher, Francesco del Cossa🎨, for the Griffoni Chapel in S. Petronio, Bologna in 1473.
The central panel is preserved in the National Gallery of London, while the side panels are in the Pinacoteca of Brera in Milan.

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Francesco del Cossa | Saint Lucy, ca. 1473/1474


Artist: Francesco del Cossa (Italian Early Renaissance painter, 1435-1477);
Title: Saint Lucy / Santa Lucia;
Date: c. 1473-1474;
Medium: Tempera on poplar panel;
Dimensions overall: 77.2 × 56 cm (30 3/8 × 22 1/16 in.);
Sold: May 1936 to the Samuel H. Kress Foundation, New York;
Gift: 1939 to The National Gallery of Art, Washington DC;
Current location: The National Gallery of Art, Washington DC.

This work originally formed part of the Griffoni Altarpiece commissioned by Floriano Griffoni for his family chapel in the church of San Petronio in Bologna.

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Tondo Art

Woman with wax tablets and stylus, so called Sappho | Fresco | Pompeii, Naples, National Archaeological Museum

A tondo (plural "tondi" or "tondos") is a Renaissance🎨 term for a circular work of art, either a painting or a sculpture.
The word derives from the Italian rotondo, "round".
The term is usually not used in English for small round paintings, but only those over about 60 cm (two feet) in diameter, thus excluding many round portrait miniatures - for sculpture the threshold is rather lower.

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Giovanni Bellini | Madonna and Child, 1470


Artist: Giovanni Bellini🎨 (Italian High Renaissance painter, ca.1430-1516)
Date:ca. 1470
Medium: Tempera, oil, and gold on wood
Dimensions: 21 1/4 x 15 3/4 in. (54 x 40 cm) (31 x 26 inches framed)
Classification: Paintings
Current location: The Metropolitan Museum of Art.

This early work by the Venetian painter, Giovanni Bellini, reveals the profound influence of his brother-in-law, the Paduan master Andrea Mantegna🎨, both in the figure types and the inclusion of the garland.


The treatment of the landscape and the use of the oil medium, with which Giovanni may have been experimenting since the 1460s, were likely inspired by Netherlandish painting.
Bellini creates a dramatic connection between the worshipper and subject through the Virgin’s left hand, extending across the parapet, and her fingertip, which reaches into the viewer’s space.
The gourds in the garland and at the left of the parapet symbolize the Resurrection; the fruit at right might be a cherry, signifying the Eucharist, or an apple, evoking the Fall. | © The Metropolitan Museum of Art




Questa prima opera del pittore veneziano Giovanni Bellini🎨, rivela la profonda influenza di suo cognato, il maestro padovano Andrea Mantegna🎨, sia nelle forme che nell'inclusione della ghirlanda.
Il trattamento del paesaggio e l'uso del mezzo oleoso, con cui Giovanni avrebbe potuto sperimentare sin dal 1460, furono probabilmente ispirati dalla pittura olandese.
Bellini crea una drammatica connessione tra l'adoratore e il soggetto attraverso la mano sinistra della Vergine, che si estende attraverso il parapetto e la punta del dito, che raggiunge lo spazio dello spettatore.
Le zucche nella ghirlanda e alla sinistra del parapetto simboleggiano la risurrezione; il frutto a destra potrebbe essere una ciliegia, a significare l'Eucaristia, o una mela, che evoca la caduta. | © The Metropolitan Museum of Art


Giovanni Bellini | Madonna and Child with St. John the Baptist and a Saint
Giovanni Bellini | Madonna and Child, 1509 | Detroit Institute of Arts
Giovanni Bellini | Madonna and Child | Pinacoteca di Brera