Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.   Related Paintings of GIOTTO di Bondone :. | Elijah on the Fire-cart | Martyrdom of Peter | No. 13 God Sends Gabriel to the Virgin | Scenes from the New Testament: Lamentation | St Francis Preaching before Honorius III |
Related Artists:
Joseph Heintz
1564-1609 Swiss Painter, draughtsman, architect and artistic adviser, son of Daniel Heintz. He began his training as a painter c. 1579 with Hans Bock I (c. 1550-c. 1623) in Basle. His first surviving drawings (1580) show something akin to Holbein manner in his stained-glass window designs. After completing his apprenticeship he went c. 1584 to Rome, where he studied the works of antiquity, and those of Raphael, Michelangelo, Polidoro da Caravaggio and others. In 1587 he went via Florence to Venice, absorbing the works of Tintoretto, Titian and Veronese. In autumn 1591 the Holy Roman Emperor Rudolf II summoned him as portraitist and court painter to Prague but soon sent him back to Italy, where he drew ancient statues in addition to producing his own work and acting as art agent for the Emperor. In 1592-5 he stayed mainly in Rome, then returned to Prague. In the following years he worked indefatigably as a draughtsman, painter, architect and artistic adviser, moving between Augsburg and Prague.
Elisabeth Jerichau Baumann
(born November 21, 1819 - died July 11, 1881 in Copenhagen) was a Polish-born Danish painter. She was married to the sculptor Jens Adolf Jerichau. Elisabeth Jerichau-Baumann was born in Zoliborz (Jolibord) a borough of Warsaw.Her father Philip Adolph Baumann (1776 - 1863), a mapmaker, and her mother, Johanne Frederikke Reyer (1790 - 1854), were German. At the age of nineteen, she began her studies in Desseldorf which at the time was one of the most important art centres in Europe and her early subject matter was drawn from Slovak life. She began exhibiting there and in 1844 attracted public attention for the first time. After she moved to Rome, her paintings were primarily of local life. It was here that she met her future husband, Jens Adolf Jerichau, whom she married in 1846. When the artist couple was not travelling, she spent many hours a day in their studio in Rome. She was particularly fond of the Italian carnival as a theme.
EERTVELT, Andries van
Flemish painter (b. 1590, Antwerpen, d. 1652, ?) Flemish painter. He enrolled as a member of Antwerp's Guild of St Luke in 1609. In 1615 he married Catherine Vlieger (d 1627), after whose death he went to Genoa, where he worked for Cornelis de Wael. By c. 1630 he was back in Antwerp, where he had his portrait painted by Anthony van Dyck (1632; Augsburg, Schaezlerpal.). In 1633 Eertvelt married Elisabeth Boots, probably a daughter of the Antwerp painter Jan Boots (b before 1620). Eertvelt is regarded as the first Flemish marine painter. Over the years his palette and style changed. His first paintings, mostly of ships in storms (e.g. Sea Battle in a Storm; Schwerin, Staatl. Mus.), were painted in greenish-black and brown tones, often using white to highlight the rigging against the dark sea. After his tour of Italy he favoured views of southern harbours, with calm seas painted in soft tones (e.g. Spanish Ships Leaving a Port; Vienna, Ksthist. Mus.). In his day Eertvelt was a man of distinction whose artistic qualities were praised by the poet Cornelis de Bie and whose marine paintings were appreciated abroad, some being exported as far as Seville and Lisbon.