1481-1559 Italian Garofalo Gallery Italian painter. Active mainly in Ferrara and the district around the Po delta, he was one of the most outstanding figures in Emilian classicism during the first half of the 16th century. In 1497 Garofalo father paid Boccaccio Boccaccino to teach his son the rudiments of painting. Garofalo first works were directly influenced by the Cremonese painter, to whom they were formerly even attributed. They consist of a series of small paintings depicting the Virgin and Child. The example in the Ca d Oro in Venice must have been Garofalo first painting and reveals not only the lessons learned from Boccaccino, but also signs of the influence of Domenico Panetti (c. 1460-before 1513), traditionally recorded as his first master. Another Virgin and Child (Assisi, Perkins priv. col.) shows signs of the early influence of Lorenzo Costa the elder, while the example in the Nationalmuseum, Copenhagen, shows a similarity with the early works of his contemporary, Lodovico Mazzolino. A particularly important project in Ferrara during the earliest years of the 16th century, involving numerous highly skilled artists, was the fresco decoration of the oratory of the Concezione. The frescoes (Ferrara, Pin. N.) represent a significant development in the city art. Garofalo hand has been identified in the Presentation in the Temple, in which he reveals a familiarity not only with local art, but also with the high points of Bolognese classicism, whose greatest exponents were Francesco Francia and Lorenzo Costa the elder. Around 1505, Garofalo works show a close familiarity with artistic developments in Bologna, in particular the mature style of Costa and the decoration in 1505-6, by Francesco Francia, Costa, Aspertini and others, of the oratory of S Cecilia in S Giacomo Maggiore. Garofalo Virgin Enthroned between SS Martin and Rosalia (Florence, Uffizi), created for Codigoro Cathedral, should be seen within this context, whereas the small altarpiece for the Arcivescovado, Ferrara, although executed at the same time, shows early, if faint, signs of the influence of Venetian painting of the period.  Related Paintings of Garofalo :. | Vir Dolorum dfg | The Annunciation 55 | The Bones of St. John the Baptist dfg | The Circumcision | The Annunciation dg |
Related Artists:
Lebasque, Henri
French Painter, 1865-1937 was born in 1865 at Champign (Maine-et-Loire). He started his education at the Ecole des Beaux-Arts d'Angers, and moved to Paris in 1886. Here, Lebasque started studying under Leon Bonnat, and assisted Humbert with the decorative murals at the Pantheon. Around this time, Lebasque met Camille Pissarro and Auguste Renoir, who later would have a large impact on his work. Lebasque's vision was coloured by his contact with younger painters, especially Edouard Vuillard and Pierre Bonnard, founders of the The Nabis' Group and the Intimists who first favoured the calm and quietude of domestic subject matter. From his first acquaintance with Georges Seurat and Paul Signac, Lebasque learnt the significance of a colour theory which stressed the use of complementary colours in shading. Lebasque was a founding member of the Salon d'Automne in 1903 with his friend Henri Matisse. Two years later a group of artists exhibited there including Georges Rouault, Andre Derain, Edouard Vuillard and Henri Matisse while keeping solid links with other artists such as Gustave Rouault, Raoul Dufy, Louis Valtat and especially Henri Manguin, who made him discover the south of France. His time in South of France would lead to a radical transformation in Lebasque's paintings, changing his colour palette forever. Other travels included the Vendee, Normandie and Brittany, although Lebasque would always prefer the small idyllic villages of the South of France. Lebasque had some commercial success during his lifetime. He worked on the decorations at the theatre of the Champs-Elyses and of the Transatlantique sealiner.
Theo Van Rysselberghe
Belgian Pointillist Painter, 1862-1926 was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the century. Born in Ghent to a French-speaking bourgeois family, he studied first at the Academy of Ghent under Theo Canneel and from 1879 at the Academy of Brussels under the directorship of Jean-François Portaels. The North African paintings of Portaels had started an orientalist fashion in Belgium. Their impact would strongly influence the young Theo van Rysselberghe. Between 1882 and 1888 he made three trips to Morocco, staying there a total of one year and half. Barely 18 years old, he already participated at the Salon of Ghent, showing two portraits. Soon afterwards followed his Self-portrait with pipe (1880), painted in somber colours in the Belgian realistic tradition of that time. His Child in an open spot of the forest (1880) already departs from this style and he sets his first steps towards impressionism.
Peter Parler
German Gothic Era Sculptor, 1330-1399,was a German architect, best-known for building Saint Vitus Cathedral and Charles Bridge in Prague, where he lived from about 1356. His father, master builder Heinrich Parler (the name deriving from "parlerius", speaker and head of the masons), had moved to Schwäbisch Gm??nd from Cologne, to lead the reconstruction works of the Holy Cross parish church. Members of the large Parler family worked in construction works around all of Europe. Peter Parler became the master mason of Saint Vitus Cathedral in 1352, after the death of its original architect, Matthias of Arras. Apart from the cathedral, he was the main designer of the New Town of Prague and built Charles Bridge and its towers. In the Royal Palace of Prague Castle, Parler built the All Saints' Chapel. After the fire of 1541 it was redecorated in the Baroque style. He was apparently the architect of the Church of Our Lady (Frauenkirche) built in the market square of Nuremberg, to replace the synagogue torn down in the pogrom of 1349 following the plague. Between 1360-78 Parler built the chancel of the St. Bartholomew church in Kolin. He died in Prague in 1399, and was buried in the St. Vitus cathedral. His work was continued by his sons Wenzel and Johann.