Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Gentile da Fabriano
Adoration of the Magi

ID: 33244

Gentile da Fabriano Adoration of the Magi
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Gentile da Fabriano Adoration of the Magi


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Gentile da Fabriano

Fabriano ca 1370-Rome 1427 Italian painter, one of the outstanding exponents of the elegant international Gothic style. In 1409 he worked in the Doge's Palace, Venice, painting historical frescoes that subsequently perished. In 1422 he was in Florence where he created his most celebrated painting, the resplendent Strozzi altarpiece (Uffizi). Gentile painted in the spirit and the manner of the older school, with glowing color and lavish use of gilt, thereby achieving a jewellike, courtly style. By 1425 he had responded to the new Florentine realism. His refined forms yielded to a sturdier rendering of figures in the Quaratesi altarpiece (panels are now in the Uffizi; Vatican; National Gall., London; and National Gall. of Art, Washington, D.C.). From 1425 until his death he worked in Siena, Orvieto, and Rome. Gentile died in Rome before the completion of the frescoes of St. John the Baptist in the Lateran Basilica.  Related Paintings of Gentile da Fabriano :. | St Nicholas and the Three Gold Balls | The adoration of the Ways | Adoration of the Magi (mk08) | Adoration of the Magi | Adoration of the Magi and Other Scenes |
Related Artists:
GHEERAERTS, Marcus the Younger
Flemish Baroque Era Painter, ca.1561-1636 was an artist of the Tudor court, described as "the most important artist of quality to work in England in large-scale between Eworth and Van Dyck" He was brought to England as a child by his father Marcus Gheeraerts the Elder, also a painter. He became a fashionable portraitist in the last decade of the reign of Elizabeth I under the patronage of her champion and pageant-master Sir Henry Lee, introducing a new aesthetic in English court painting that captured the essence of a sitter through close observation. He became a favorite portraitist of James I's queen Anne of Denmark, but fell out of fashion in the later 1610s. Marcus Gheeraerts the Younger was the son of the artist Marcus Gheeraerts the Elder and his wife Johanna. Hardly anything is known of the paintings of the elder Gheeraerts, although his work as a printmaker reached around Europe. Like other Protestant artists, Gheeraerts the Elder fled to England with his son to escape persecution in the Netherlands under the Duke of Alva. His wife was a Catholic and remained behind; she is assumed to have died a few years later. Father and son are recorded living with a Dutch servant in the London parish of St Mary Abchurch in 1568. On 9 September 1571, the elder Gheeraerts remarried. His new wife was Susanna de Critz, a member of an exiled family from Antwerp. It is uncertain by whom young Marcus was trained, although it is likely to have been his father; he was possibly also a pupil of Lucas de Heere. Records suggest that Marcus was active as a painter by 1586 In 1590 he married Magdalena, the sister of his stepmother Susanna and of the painter John de Critz.
Otto Marseus van Schrieck
(ca. 1619, Nijmegen - buried June 22, 1678, Amsterdam) was a painter in the Dutch Golden Age. Marseus van Schrieck spent the years 1648-1657 in Rome and Florence with the painters Matthias Withoos and Willem van Aelst, after which he settled in Amsterdam. He is best known for his paintings of forest flora and fauna. In Arnold Houbraken's biography of him, he mentions that he joined the Bentvueghels in Rome and was called the snuffelaer, or "sniffer", because he was always sniffing strange lizards and snakes. He quotes his wife, who apparently survived him by two husbands and was still alive when he wrote the book. He wrote that she said that Otto kept snakes and lizards in a shed at the back of his house, and also on a piece of land outside the city that was walled in for this purpose.
Cano, Alonso
Spanish, 1601-67 Spanish painter, sculptor and architect. He was an artist of rare versatility in 17th-century Spain, although his architectural work was not extensive. While he is also known for his drawings, only about 60 of these are definitely attributable to him, despite the many extant sketches with the name 'Cano' carelessly added by later hands. Unlike most of his Spanish contemporaries, such as Zurbaren or Velezquez, whose artistic styles did not outlive them, Cano's artistic legacy is measured in part by the number of artists who trained in his workshop and went on to become important masters in their own right: the painters Pedro Atanasio Bocanegra, Juan de Sevilla (1643-95) and, more distantly, Jos Risueo, and the sculptors Pedro de Mena and Jos de Mora,






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