Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.  Related Paintings of Caravaggio :. | St.Francis in Ecstasy | La Diseuse de bonne aventure | Madonna with the Serpent | St Matthew and the Angel f | Rest on Flight to Egypt ff |
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Jan Both
Jan Dirksz Both (between 1610 and 1618 - August 9, 1652) Jan Both was a Dutch painter, draughtsman, and etcher, who made an important contribution to the development of Dutch Italianate landscape painting. Both was born in Utrecht, and was the brother of Andries Both. According to Houbraken, the brothers first learned to paint from their father, who was a glass-painter or glazier there. Later Jan was a pupil of Abraham Bloemaert and still later the brothers traveled together to Rome via France. Gerrit van Honthorst has also been suggested as a teacher. By 1638 Jan and his brother Andries were in Rome where Andries concentrated on genre works in the manner of Pieter van Laer, while Jan concentrated on landscapes in the manner of Claude Lorrain.[1] In 1639 Jan collaborated with Herman van Swanevelt and Claude Lorrain on a project for the Buen Retiro Palace in Madrid. Certainly by 1646 Jan had returned to Utrecht, where he refined further his expansive, imaginary landscapes drenched with a Mediterranean golden light. In Landscape with Bandits Leading Prisoners (Museum of Fine Arts, Boston) the sandy road makes a sweeping diagonal from the left. Touches of realism in the down-to-earth figures and detailed vegetation of the foreground contrast with the idyllic golden distance. Occasionally Both peoples his landscapes with religious or mythological figures as in Judgement of Paris (London, National Gallery) where the figures were painted by a fellow Utrecht artist, Cornelis van Poelenburch. Jan's brother Andries (c.1612-41), who specialised in peasant scenes, died in Venice as they were returning to Utrecht.
HONDECOETER, Melchior d
Dutch Baroque Era Painter, 1636-1695 Dutch animal painter. His grandfather, Gillis d'Hondecoeter (d. 1638) and his father, Gysbert d'Hondecoeter (1604?C1653), were landscape and animal painters. After four years at The Hague, where he painted The Menagerie of William III at Loo, Melchior settled in Amsterdam. He painted all forms of animal life, but is best known for his depiction of birds and fowl, in which he has few equals. Representative works, executed in a smooth, precise style, include the Dead Cock
Sandro Botticelli
Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s