1456-1496 Italian Ercole Roberti Gallery Ercole de' Roberti (c. 1451 ?C 1496), also known as Ercole Ferrarese or Ercole da Ferrara, was an Italian artist of the Early Renaissance and the School of Ferrara. He was profiled in Vasari's Le Vite delle pi?? eccellenti pittori, scultori, ed architettori. The son of the doorkeeper at the Este castle, Ercole later held the position of court artist for the Este family in Ferrara. According to Vasari: By 1473, when he was 17, Ercole had left Ferrara and was working in Bologna in the studio of Francesco del Cossa. (According to Vasari, Ercole also apprenticed under Lorenzo Costa in Bologna, but this seems unlikely as he was Lorenzo's senior by seveal years). He is known to have collaborated in the frescoes of Palazzo Schifanoia. Ercole's first mature works are his contributions to the Griffoni Chapel for the San Petronio Basilica in Bologna: a predella depicting the Miracles of St Vincent Ferrer (c.1473) (now in the Pinacoteca of the Vatican), and lateral pilasters for the altarpiece commissioned from del Cossa. In 1480, Ercole created a large altarpiece with a Madonna and Child Enthroned with Saints for Santa Maria in Porto in Ravenna, which is now in the Brera, Milan. Portraits of Giovanni II Bentivoglio and Ginevra Bentivoglio attributed to Ercole de' Roberti (c. 1480) are in the National Gallery of Art, Washington, D.C. Ercole succeeded Cosm?? Tura as court painter to the Este family in Ferrara around 1486. His role apparently went far beyond making art: he accompanied Alfonso d'Este on a papal visit to Rome, served as wardrobe manager for Isabella d'Este's wedding in Mantua, and may even have made salamis. A painting of Portia and Brutus (c. 1486-90), believed to be painted for Eleonora of Aragon, duchess of Ferrara, is in the Kimbell Art Museum, Fort Worth, Texas. Ercole's painting of Saint Jerome in the Wilderness from this period is in the collection of the J. Paul Getty Museum, Los Angeles.  Related Paintings of Ercole Roberti :. | The Wife of Hasdrubal and her Children | Treasures of Liverpool | Portrait of Giovanni II Bentivoglio | The Adoration of the Shepherds,the dead Christ Supported by two angels in the sepulcher | The Gathering of the Manna |
Related Artists:
ZUCCARO Federico
Italian Mannerist Painter, ca.1542-1609 ..Painter, draughtsman and writer, brother of (1) Taddeo Zuccaro. Having been invited to Rome by his brother, between 1555 and 1563 he worked with Taddeo on various projects including the Villa Farnese at Caprarola and the Pucci Chapel in Trinit? dei Monti, Rome. Many of Federico's drawings for both commissions show Taddeo's influence. According to Vasari, Taddeo supervised his brother's early work, which created friction between them. In 1558, for example, when they collaborated on painting the fa?ade of the house of Tizio da Spoleto with scenes from the Life of St Eustace, Taddeo retouched some of his brother's paintings, so offending Federico. Already at 18 Federico was commissioned to paint many works at the Vatican: the Transfiguration, the Marriage at Cana and other scenes from the Life of Christ for the decorations (part destr.) of the Casino of Pius IV;
Luis Eugenio Melendez
(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.
Willem van Nieulandt
(1584-1635) was a Dutch Golden Age painter and engraver from Antwerp. His father Adrien van Nieulandt the elder was born to a family of artists of Flemish origin from Antwerp. He probably moved with his family to Amsterdam in 1589 after the Siege of Antwerp, because they were Protestants. His three sons Willem van Nieulandt II (named for his uncle, also a painter), Adriaen van Nieulandt the younger, and Jacob van Nieulandt all became painters. According to Houbraken, Willem was a pupil of Roelant Savery in Amsterdam, and he left him to travel to Rome, where he became a student of Paulus Bril. He specialized in painting artistic ruins of monuments, arches, and temples, many of which he then engraved himself. He returned to Amsterdam (via Antwerp) in 1607, and became a respected poet there as well as Italianate painter.