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 :. | Last Judgment | Lamentation over the Dead CHrist | Daedalus after | Martyrdom of Peter | Vision of the Ascension of St Francis |
Related Artists:
COSTA, Lorenzo
Italian High Renaissance Painter, ca.1460-1535 was an Italian painter of the Renaissance. He was born at Ferrara, but moved to Bologna by the his early twenties, and would be more influential to the Bolognese school of painting. However, many artists worked in both nearby cities, and thus others consider him a product of the School of Ferrara. There are claims that he trained with Cosimo Tura. In 1483 he painted his famous Madonna and Child with the Bentivoglio family, and other frescoes, on the walls of the Bentivoglio chapel in San Giacomo Maggiore, and he followed this with many other works. He was a great friend of Francesco Francia, who was much influenced by him. In 1509 he went to Mantua, where his patron was the Marquis Francesco Gonzaga, and he eventually died there. His Madonna and Child enthroned is in the National Gallery, London, but his chief works are at Bologna. His sons, Ippolito and Girolamo, were also painters, and so was Girolamo's son, Lorenzo the younger (1537-1583).
LOO, Louis Michel van
French painter (b. 1707, Toulon, d. 1771, Paris). Painter, son of Jean-Baptiste van Loo. He trained with his father in Turin and Rome, later attending the courses of the Academie Royale in Paris. He received the institution's first prize for painting in 1726, and in 1728, accompanied by his brother, Francois, and his uncle, Carle, returned to Rome where he was associated with Francois Boucher. On his way back to France, he stayed for a time in Turin, painting portraits of the royal family of Sardinia, the Duke and Duchess of Savoy. In Paris he was admitted to membership of the Academie Royale and in 1735 was appointed assistant teacher at the Academie, becoming renowned as a specialist in portrait painting. Most of his portraits from this period are half-length, combining ideas from Hyacinthe Rigaud's later work with other more natural and innovative ones. On the death of Jean Ranc, Philip V of Spain asked Rigaud to suggest a substitute, and van Loo was proposed. He arrived in Madrid in 1737 and remained there as Pintor de la Corte until 1752, responding with modern aesthetic ideas to the demands of the Spanish monarchs for pomp and splendour. He carried out court commissions but devoted part of his time to teaching, his pupils often becoming studio assistants. He also took an active part in meetings held over a number of years to establish the Real Academia de Bellas Artes de S Fernando, for which he produced the canvas, the Education of Cupid by Venus and Mercury
PEREDA, Antonio de
Spanish Baroque Era Painter, ca.1611-1678 Spanish painter. He was the son of a minor painter of the same name (d 1622) and, after his father died, about 1627 he moved to Madrid with his mother. There he entered the studio of Pedro de las Cuevas, and his fellow pupils included such artists as Juan Carreeo de Miranda, Francisco Camilo, Jusepe Leonardo and Antonio Arias Fernendez. He must also have known and studied the work of many masters esteemed at court, particularly Vicente Carducho, echoes of whose work can be found in the former's early paintings. Pereda received protection early on from a member of the Royal Council, Francisco de Tejada, and later from Giovanni Battista Crescenzi, a painter and patron who was in Spain from 1617. Pereda probably completed his training through contact with Crescenzi's collection and eventually he lived in Crescenzi's house. In 1634 Pereda executed Aid to Genoa (Madrid, Prado) for the decoration of the Salen de Reinos in the Casen Buen Retiro, Madrid, a project involving all the leading artists of Madrid, including Carducho, Velezquez, Zurbaren and Jose Leonardo. The death of Crescenzi in 1635 deprived Pereda of further court commissions and seems to have stopped him painting any further secular works other than still-lifes. Also in 1635 he began a well-documented career as a religious painter, producing large altar paintings and many other medium-sized works, probably for private worship. Outstanding among these is the Immaculate Conception (1637) in the Convento de los Felipenses, Alcale de Henares (Madrid). The important allegorical painting Vanitas