1430-1479 Italian Antonello da Messina Galleries Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo. Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts. Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time. The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings. The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini. His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original). Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo. He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.  Related Paintings of Antonello da Messina :. | Portrait of a Man | Portrai of a Man | Saint Jerome in his Study (nn03) | Portrait of a Man | San Cassiano Altar |
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Thomas Rowlandson
English Illustrator, 1756-1827,English caricaturist, watercolourist, draughtsman and engraver. Although he is commonly thought of as a satirist, most of his drawings are gently humorous, and in some cases objective, records of urban and rustic life. With the exception of a small number of topographical drawings, they are characterized by an abundance of picaresque incidents, whether robust or sentimental, and have much in common with the novels of Laurence Sterne and Henry Fielding, which Rowlandson illustrated in 1808 and 1809.
antoine pesne
Antoine Pesne, född 23 maj 1683 i Paris, Frankrike, död 5 augusti 1757 i Berlin, Preussen, var en fransk målare under rokokon. Pesne gick i lära hos sin far, målaren Thomas Pesne, samt hos Charles de la Fosse i Paris. Under åren 1705?C1710 företog han en resa i Italien och vistades huvudsakligen i Venedig, där han anslöt sig till Andrea Celesti, vars måleri tydligt påverkade Pesnes tidiga verk. 1710 kallades han av kung Fredrik I av Preussen till Berlin som hovmålare. Därefter företog han under de följande åren kortare resor till hoven i Dessau (1715), Dresden (1718), London (1723) och Paris (1724). 1733 utnämndes Pesne till ledare för konstakademin i Berlin. Han anses vara en viktig förmedlare av den franska konsten till Brandenburg-Preussen. Pesne var i huvudsak verksam som porträttmålare, men han utförde även talrika vägg- och takmålningar för Fredrik den store i de kungliga slotten. Ett av Pesnes mest berömda konstverk är Dansösen Barbara Campanini (cirka 1745). Detta porträtt med sin lätta och schvungfulla formgivning, det spontana penseldraget och de ljusa, pastelliknande färgerna är karakteristiskt för Pesnes arbeten och för rokokon i allmänhet. På ett virtuost sätt framställer Pesne den med tygblommor dekorerade sidenklänningen. Fredrik den store uppskattade sin hovmålares berömda plein-air-porträtt och lät hänga det på en framträdande plats i sitt arbetsrum i slottet i Berlin.
Neeffs, Peter the Elder
Flemish, Approx. 1578-1661