1370-1427 Italian Gentile da Fabriano Locations Gentile da Fabriano, whose real name was Gentile di Niccolo di Giovanni di Massio, came from Fabriano in the Marches. According to tradition, his family was an old one and moderately prosperous. His father, who was said to have been a scholar, mathematician, and astrologer, became an Olivetan monk when a monastery of that order was established in Fabriano in 1397. Gentile brother, Ludovico, was a monk of the same order in Fabriano, and Gentile himself was living in the Olivetan monastery of S. Maria Nuova in Rome at the time of his death. A document of Oct. 14, 1427, speaks of him as dead. Gentile art indicates that he was probably trained in Lombardy, perhaps in Milan. He worked in the then current International Gothic style, to which he brought his own personal quality. His earliest works display the decorative rhythmic drapery patterns preferred by the International Gothic masters, which Gentile tempered and ultimately abandoned after his contact with Florentine art. In a document of 1408 Gentile is recorded in Venice, where he painted an altarpiece (now lost) for Francesco Amadi. Testifying to his high reputation was his commission in 1409 for frescoes in the Doges Palace in Venice (painted over in 1479). Pandolfo Malatesta commissioned Gentile to decorate a chapel (destroyed) in Brescia in 1414. The artist is last recorded in Brescia on Sept. 18, 1419, when he departed for Rome to answer the summons of Pope Martin V. Gentile name first appeared on the roll of painters in Florence in 1421. He was in Siena in 1420 and 1424-1425 and in Orvieto late in 1425. From 1426 until the time of his death he was in Rome. Typical of Gentile early style is the polyptych (ca. 1400) from the convent of Valle Romita in Fabriano, in which Gentile displays the International Gothic love for naturalistic detail in the floral turf beneath the feet of the graceful, slender saints whose figures are swathed in rhythmic, linear drapery. The central panel, the Coronation of the Virgin, shows the love for calligraphic drapery so characteristic of Gentile early style. Other noteworthy early works include the much damaged Madonna in Perugia and the Madonna with Saints and Donor in Berlin. The altarpiece Adoration of the Magi, signed and dated 1423, was Gentile major work in Florence. In remarkably good condition, with its original frame still intact, it shows Gentile Gothicism now tempered by his contact with the more austere art of Florence. The rich display of gold leaf and brilliant colors were favorite International Gothic traits, but in the interest in perspective and foreshortening and especially in the exquisite predella panels Gentile shows the influence of the Florentines. The altarpiece for the Quaratesi family, signed and dated 1425, also demonstrates the composite quality of Gentile art. The fresco Madonna Enthroned in Orvieto Cathedral of late 1425 has few traces of the International Gothic style and displays a corporeality and fullness in keeping with his evolution after Florence. His last works, the frescoes in St. John Lateran in Rome depicting the life of John the Baptist and grisaille portraits of saints, were destroyed in 1647, when Francesco Borromini reconstructed the interior.  Related Paintings of Gentile da Fabriano :. | Quaratesi | Four Saints of the Quaratesi Polyptych | The Presentation in the Temple | The Adoration of the Magi3 | The Adoration of the Magi 6 |
Related Artists:
Anthoni Schoonjans
(1655 - 13 August 1726) was a Flemish painter. He was born in Antwerp and became a pupil of Erasmus Quellinus II and his son Jan-Erasmus Quellinus. He travelled to Rome and like his teachers had done before him, joined the Bentvueghels with the nickname "Parrhasius" in 1674. In Rome he lived with Charles de Vogelaer in the via Margutta and later he lived from 1688-89 in the Corso, near the via di Ripetta. In 1695 he became court painter in Vienna, where he later died. During the course of his lengthy career he also worked in Antwerp, Riems, Lyon, Amsterdam, the Hague, Brno, Dusseldorf, Copenhagen, and Berlin.He is known for portraits and historical allegories, and was the teacher of Georg Gsell.
Hendrik Heerschop
painted Alexander the Great and Diogenes in 1661
Childe Hassam
1859-1935 Childe Hassam Locations Frederick Childe Hassam (b. October 17, 1859, Dorchester, Boston, Massachusetts ?C d. August 27, 1935, East Hampton, New York) was a prominent and prolific American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and the museums. He produced over 3,000 paintings, watercolors, etchings, and lithographs in his career, and was a founding member of The Ten, an influential group of American artists of the early 20th century. His most famous works are the ??Flag?? paintings, completed during World War I. Hassam (pronounced HASS'm;) (known to all as Childe, pronounced like child) was born in his family home in a suburb of Boston in 1859. His father Frederick was a cutlery merchant and descended from a long line of New Englanders, while his mother Rosa was a native of Maine. He demonstrated an interest in art early in his life. He had his first lessons in drawing and watercolor while attending the Mather public school, but his parents took little notice of his nascent talent. A disastrous fire in November 1872 wiped out much of Boston??s commercial district including his father??s business. To help out the family, Hassam dropped out of high school and his father lined up a job for him in the accounting department of publisher Little Brown & Company. His poor aptitude for figures, however, convinced his father to allow him to pursue an art career, and Hassam found employment with George Johnson, a wood engraver. He quickly proved an adept draftsman (??draughtsman?? in the Boston directory) and he produced designs for commercial engravings, such as images for letterheads and newspapers. Around 1879, Hassam began creating his earliest oil paintings but his preferred medium was watercolors, mostly outdoor studies.