Leonardo da Vinci | Differenza dalla Pittura alla Scultura

Trattato della Pittura

Parte prima | Capitolo 39

Leonardo da Vinci | Trattato della pittura | Testo Integrale

La prima maraviglia che apparisce nella pittura è il parere spiccata dal muro od altro piano, ed ingannare i sottili giudizi con quella cosa che non è divisa dalla superficie della parete; qui in questo caso lo scultore fa le opere sue che tanto paiono quanto elle sono, e qui è la causa che il pittore bisogna che faccia l'ufficio della notizia nelle ombre, che sieno compagne de' lumi.

Vicki Sullivan, 1961 | Portrait /Figurative /Realist painter

Vicki Sullivan is an Australian Realist painter who focuses on portraiture.

She is a member of Portrait Artists Australia and the Melbourne Society of Women Sculptors and Painters founded in 1902, has participated in National and International exhibitions with her portraits, and has been a finalist in several Art Renewal Center International Salon Competitions.

Johan Zoffany | Neoclassical painter

Known primarily as a painter of portraits, conversation pieces and theatrical subjects, Johan Zoffany (1733-1810) was born Johannes Josephus Zauffaly, in Frankfurt-am-Main, Germany.

The son of an architect and court cabinet maker, he was brought up at the court of Alexander Ferdinand, Prince von Thurn und Taxis, and enjoyed court patronage throughout his career.

When the Prince took up residence at Regensburg, Johan was apprenticed to a local painter, Martin Speer (c.1702-65).

Claude WeisBuch | Impressionist /Modern painter

Plaude Weisbuch (1927-2014) was born in Thionville, France and was a pupil at L'École des Beaux-Arts in Nancy.

As a painter, engraver, and exceptional lithographer, Claude Weisbuch has painted active motifs, such as musicians, horses, characters.

Dominating in his work, by the relief and the velvety line which characterizes dry-point, his etchings are the strongest representations of his figures, intensely lively after 1960s.

Johannes Vermeer | The Art of Painting, 1666

The Art of Painting, also known as The Allegory of Painting, or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer.

Many art historians believe that it is an allegory of painting, hence the alternative title of the painting.

After Vermeer's Christ in the House of Martha and Mary it is the largest work by the master.

Its composition and iconography also make it the most complex Vermeer work of all.