Italian Early Renaissance Painter, 1401-1428 was the first great painter of the Quattrocento period of the Italian Renaissance. His frescoes are the earliest monuments of Humanism, and introduce a plasticity previously unseen in figure painting. The name Masaccio is a humorous version of Tommaso, meaning "big", "fat", "clumsy" or "messy" Tom. The name was created to distinguish him from his principal collaborator, also called Tommaso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists. He was one of the first to use scientific perspective in his painting, employing techniques such as vanishing point in art for the first time. He also moved away from the Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more natural mode that employed perspective for greater realism. Masaccio was born to Giovanni di Mone Cassa??i and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (now part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles south of Florence. His family name, Cassai, comes from the trade of his grandfather Simone and granduncle Lorenzo, who were carpenters - cabinet makers ("casse", hence "cassai"). His father died in 1406, when Tommaso was only five; in that year another brother was born, called Giovanni after the dead father. He also was to become a painter, with the nickname of "Scheggia" meaning "splinter". The mother was remarried to an elderly apothecary, Tedesco, who guaranteed Masaccio and his family a comfortable childhood.  Related Paintings of MASACCIO :. | The Tribute Money | The Tribute Money, fresco in the Brancacci Chapel in Santa Maria del Carmine, Florence | Profile Portrait of a Young Man | Virgin and Child | Tribute money |
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Charles de Lafosse
French Baroque Era Painter , Paris 1636/40 -1716 French painter and draughtsman. He was the most important decorative painter in France in the generation after Charles Le Brun and in this capacity contributed to many of the major official and private building projects from the 1670s to the 1710s, including the D?me des Invalides in Paris and the chapel at the ch?teau of Versailles. His colourist's temperament, his early study of the Venetian painters of the 16th century and his interest in the work of Peter Paul Rubens contributed to the triumph of the party that championed colour over line and put him in the vanguard of the new tendency in French painting in the later 17th century. His work, with its rich and changing colours, combines the strength of the 17th century with the lightness and grace of the 18th
FERRARI, Gaudenzio
Italian High Renaissance Painter, ca.1471-1546
Francesco Giuseppe Casanova
(1727-1803) was an Italian painter and a younger brother of Giacomo Casanova. Francesco Casanova Battaglia di cavalleria (oil on canvas, Louvre, Paris)Born in London, he trained in Venice under Francesco Guardi, then was a pupil of Francesco Simonini, a battle painter who took Borgognone as his model. Besides battle-pieces Casanova painted landscapes with figures and cattle, as well as pastoral subjects. He arrived in Paris in 1751, and went to Dresden in the following year, where he remained until 1757, spending his time in copying the finest battle-pieces of the famous Electoral Gallery. On his return to Paris he studied for a time under Charles Parrocel, and was received into the Academy in 1763. He exhibited at the Salon at intervals from that year till 1783, when he again quit France, going to Vienna, where he resided during the remainder of his life. Philip James de Loutherbourg was his pupil for a time.