1554-1640 Italian Jacopo da Empoli Location Italian painter and draughtsman. He lived and worked in Florence all his life, and he followed Santi di Tito in the return to the clarity of the Florentine High Renaissance. He absorbed the ideas of his more innovative contemporaries and became one of the most popular painters of altarpieces for churches in Florence and Tuscany. He was also a distinguished still-life painter and received many commissions from private patrons, among them the Medici. Empoli painting is distinguished by simple, lucid forms, strong colour and direct and clear interpretation of the subject.  Related Paintings of Jacopo da Empoli :. | Susanna and the Elders | Still Life with Game | St.Ivo,Protector of Widows and Orphans | Susanna bathing | susanna i badet |
Related Artists:
Maxime Maufra
was a French landscape and marine painter, etcher and lithographer. Maufra first began painting at 18. He was encouraged to do so by two artists from Nantes: the brothers Leduc. However, he didnet fully embrace his painting career right away. Being a businessman, he only painted on his spare time from 1884 to 1890. During this time, Maufra discovered the work of the Impressionists and was able to display his works at the Paris Salon of 1886. In 1890, Maufra decided to give up commerce and to become a full-time painter. He left Nantes for Brittany, where he was able to meet Paul Gauguin and Paul Serusier. Maufra had his first solo exhibition in Paris in 1894, at Le Barc de Toutteville. Returning from Brittany, Maufra was the first painter to take up residence in The Bateau-Lavoir, a famous Parisian residence for artists. In his paintings, Maufra sometimes quoted the pointillisit technique of Pissarro or Sisley, and also took from the strong colors and powerful drawing of the Pont Aven school. However, Maufra stayed an independent artist his all life through, and dedicated his art to recording the beauty of nature.
Paul A.Seifert
German-born American painter b.c.1840-46 d.1921
Juan Sanchez-Cotan
Spanish 1561-1627 S??nchez Cot??n was born in the town of Orgaz, near Toledo. He was a friend and perhaps pupil of Blas de Prado, an artist famous for his still lifes whose mannerist style with touches of realism, the disciple developed further. Cot??n began by painting altar pieces and religious works. For approximately twenty years, he pursued a successful career in Toledo as an artist, patronized by the city??s aristocracy, painting religious scenes, portraits and still lifes. These paintings found a receptive audience among the educated intellectuals of Toledo society. S??nchez Cot??n executed his notable still lifes around the turn of the seventeenth century, before the end of his secular life. An example (seen above) is Quince, Cabbage, Melon and Cucumber (1602, in the San Diego Museum of Art). On August 10, 1603, Juan Sanchez Cotan, then in his forties, closed up his workshop at Toledo to renounce the world and enter the Carthusian monastery Santa Maria de El Paular. He continued his career painting religious works with singular mysticism. In 1612 he was sent to the Granada Charterhouse, he decided to become a monk, and in the following year he entered the Carthusian monastery at Granada as a laybrother. The reasons for this are not clear, though such action was not unusual in Cot??n??s day. Cotan was a prolific religious painter whose work, carried out exclusively for his monastery, reached its peak about 1617 in the cycle of eight great narrative paintings which he painted for the cloister of the Granada Monastery. These depict the foundation of the order of St. Bruno, and the prosecution of the monks in England by the Protestants. Although the painter??s religious works have an archaic air, they also reveal a keen interest in the treatment of light and volumes, and in some respect are comparable with certain works by the Italian Luca Cambiaso whom Cotan knew at the Escorial. While Cotan's religious works are unexceptional, as a still-life painter he ranks with the great names of European painting. In spite of his retreat from the world, Cotan??s influence remained strong. His concern with the relationships among objects and with achieving the illusion of reality through the use of light and shadow was a major influence on the work of later Spanish painters such as Juan van der Hamen, Felipe Ramirez, the brothers Vincenzo and Bartolomeo Carducci and, notably, Francisco de Zurbaran. Sanchez Cotan ended his days universally loved and regarded as a saint. He died in 1627 in Granada.