American Colonial Era Painter, 1738-1815 John Singleton Copley (1738[1] - 1815) was an American painter, born presumably in Boston, Massachusetts and a son of Richard and Mary Singleton Copley, both Irish. He is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. His paintings were innovative in their tendency to depict artifacts relating to these individuals' lives.  Related Paintings of John Singleton Copley :. | Der Richter Martin Howard | Waston and the Shark | Mrs.Sylvester | The Death of Major Peirson | Mr. and Mrs. Thomas Mifflin |
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MELZI, Francesco
Italian Painter, 1493-1570 Italian painter and draughtsman. Belonging to a noble Lombard family, he began to attend the workshop of Leonardo da Vinci around 1508, during Leonardo's second visit to Milan. From that time on he was always associated with Leonardo, whose favourite pupil he became: he followed Leonardo to Rome in 1513 and moved with him to France in 1515, staying with him until his death in 1519.
Andrea Sacchi
1559-1661 Italian Andrea Sacchi Gallery As a young man, Sacchi had worked under Cortona in Castel Fusano (1627-1629). But in a set of public debates later developed in the Roman Artist's Guild, Accademia di San Luca, he strongly criticized Cortona's exuberance. In particular, Sacchi advocated that since a unique, individual expression needs to be assigned to each figure in a composition, a painting should not consist of more than about ten figures. In a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this is a reaction against the zealous excess of crowds in paintings by men such as Zuccari of the prior generation, and by Cortona among his contemporaries. Simplicity and unity were essential to Sacchi. Cortona argued that large paintings were more like an epic, that could avail themselves of multiple subplots. The encrustation of a painting with excess decorative details, including melees of crowds, would represent "wall-paper" art rather than focused narrative. Among the partisan's of Sacchi's argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin. The controversy was however less pitched than some suggest, and also involved the dissatisfaction that Sacchi and Albani, among others, shared regarding the artistic depiction of low or genre subjects and themes, such as preferred by the Bamboccianti and even the Caravaggisti. They felt that high art should focus on exalted themes- biblical, mythologic, or from classic history. Sacchi, who worked almost always in Rome, left few pictures visible in private galleries. He had a flourishing school: Poussin and Carlo Maratta were younger collaborators or pupils. In Maratta's large studio, Sacchi's preference for grand manner style would find pre-eminence among Roman circles for decades to follow. But many others worked under him or his influence including Luigi Garzi, Francesco Lauri, Andrea Camassei and Giacinto Gimignani. Sacchi's own illegitimate son Giuseppe, died young after giving very high hopes. Sacchi died at Nettuno in 1661.
Rutilio Manetti
Italian Baroque Era Painter , 1571 - 1639 was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. He is known to have collaborated with Raffaele Vanni, the son of Francesco. He is known for the following works in Siena or nearby towns: Story of St Catherine and Pope Gregory (1597; Palazzo Pubblico), Baptism of Christ (1600; San Giovannino in Pantaneto); a fresco cycle of the Story of St Roch (1605-1610; San Rocco alla Lupa), Pope Alexander I freed from prison by an Angel from San Giovanni Battista in Sant'Ansano in Greti; a Temptation of Saint Anthony (1620, Sant'Agostino), a Death of Blessed Antonino Patrizi (Monticiano, 1616), a Blessed Domenico dal Pozzo at the table now in Certosa of Florence, a Birth of Virgin (1625, Church of Santa Maria dei Servi), and a painting (1628, Church of San Domenico). He painted a remarkable Allegory of the four seasons and a Parable of the blind men, now in private collections. He also contributed to the Casino Mediceo His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 1600s.