French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision   Related Paintings of Osbert, Alphonse :. | Elisabetta Gonzaga | Maria und Elisabeth mit dem Jesus | Portrait of King Charles IX of France | La Tirana | Gekrose of the intestine and its Gefabsystems |
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Dosso Dossi
1479-1542 Italian Dosso Dossi Locations Italian painter of the Ferrarese school, whose real name was Giovanni di Niccolo de Luteri. He may have been a pupil of Lorenzo Costa, but was certainly influenced by Giorgione, Titian, and Raphael. He often collaborated with his brother Battista, a landscape painter. Dosso Dossi is first recorded in Mantua, but after 1514 he executed many decorative works for the ducal palace and churches of Ferrara, including frescoes, pictures, and cartoons for tapestries. Both his landscapes and portraits show originality and imagination. He was a friend of Ariosto, who mentions him in Orlando Furioso. His works include Circe in the Woods (Borghese Villa); The Three Ages of Man (Metropolitan Mus.); The Standard Bearer, Scene from a Legend, and Saint Lucretia (National Gall. of Art, Washington, D.C.).
Ercole Roberti
1456-1496 Italian Ercole Roberti Gallery Ercole de' Roberti (c. 1451 ?C 1496), also known as Ercole Ferrarese or Ercole da Ferrara, was an Italian artist of the Early Renaissance and the School of Ferrara. He was profiled in Vasari's Le Vite delle pi?? eccellenti pittori, scultori, ed architettori. The son of the doorkeeper at the Este castle, Ercole later held the position of court artist for the Este family in Ferrara. According to Vasari: By 1473, when he was 17, Ercole had left Ferrara and was working in Bologna in the studio of Francesco del Cossa. (According to Vasari, Ercole also apprenticed under Lorenzo Costa in Bologna, but this seems unlikely as he was Lorenzo's senior by seveal years). He is known to have collaborated in the frescoes of Palazzo Schifanoia. Ercole's first mature works are his contributions to the Griffoni Chapel for the San Petronio Basilica in Bologna: a predella depicting the Miracles of St Vincent Ferrer (c.1473) (now in the Pinacoteca of the Vatican), and lateral pilasters for the altarpiece commissioned from del Cossa. In 1480, Ercole created a large altarpiece with a Madonna and Child Enthroned with Saints for Santa Maria in Porto in Ravenna, which is now in the Brera, Milan. Portraits of Giovanni II Bentivoglio and Ginevra Bentivoglio attributed to Ercole de' Roberti (c. 1480) are in the National Gallery of Art, Washington, D.C. Ercole succeeded Cosm?? Tura as court painter to the Este family in Ferrara around 1486. His role apparently went far beyond making art: he accompanied Alfonso d'Este on a papal visit to Rome, served as wardrobe manager for Isabella d'Este's wedding in Mantua, and may even have made salamis. A painting of Portia and Brutus (c. 1486-90), believed to be painted for Eleonora of Aragon, duchess of Ferrara, is in the Kimbell Art Museum, Fort Worth, Texas. Ercole's painting of Saint Jerome in the Wilderness from this period is in the collection of the J. Paul Getty Museum, Los Angeles.
Panfilo Nuvolone
(1581-1651) was an Italian painter of the Mannerist period, who painted both religious and still life topics, active in Cremona and Mantua. Born to a Mantuan gentleman, he was the father of a family of Cremonese painters. In that town, he apprenticed with Giovanni Battista Trotti (known as il Malosso). Afterwards he moved to Milan, where frescoe church ceilings, and painted altarpieces and still lifes. One of his few documented still lifes depict a bowl of peaches, and recalls the near-contemporary paintings of fruit bowls in Milan, including the 1594-98 painting in the Ambrosiana by Caravaggio and similarly themed paintings by Fede Galizia. His son, Carlo Francesco Nuvolone, also a prominent in painter in Lombardy. Panfilo's younger son Giuseppe Nuvolone also a painter. Giuseppe's son Carlo was a mediocre quadratura specialist active mainly around Cremona.