Italian Mannerist Painter, 1494-ca.1556 Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter.   Related Paintings of Pontormo :. | Two Nudes Compared | Vertumnus and Pomona | Joseph in Egypt | Geburt Johannes des Taufers, Tondo | Portrait of an Engraver of Semi Precious Stones |
Related Artists:
Charles conder
English-born Australian Painter, 1868-1909 English painter, active in Australia and France. He was sent to Australia in 1884 to learn surveying under his uncle W. J. Conder. After about two years in survey camps, he attended evening classes at the Royal Art Society, Sydney; in 1887 he worked as a lithographic draughtsman for the Illustrated Sydney News. Tom Roberts, then in Sydney on a visit from Melbourne, was among the open-air landscape painters that he knew at this time. He taught Conder some of the principles of Impressionism, such as truth to the momentary effect of light and to colour values, and the rejection of the academic ideal of high finish. The most important painting of Conder's Sydney years, the Departure of the 'SS Orient' from Circular Quay, 1888 (1888; Sydney, A.G. NSW), already showed a distinct personal style, combining humour with nostalgia and selective observation with decorative finesse of handling and design. In December 1888 Conder joined Roberts and Arthur Streeton in Melbourne. During the following summers they painted together at the outer suburbs of Mentone, Box Hill and Eaglemont
Peto, John Frederick
American, 1854-1907 American painter. He trained at the Pennsylvania Academy of Fine Arts (1877-8), Philadelphia, where he became a friend of William Michael Harnett whose work was a dominant influence on his oeuvre. Peto maintained a studio in Philadelphia, exhibiting at the Academy from 1879 to 1887; he earned a living through occasional work as a photographer, sculptor and painter. After moving to Island Heights, NJ, in 1889,
Roelandt Savery
1576-1639 Roelandt Savery Gallery Like so many other artists, Savery's Anabaptist family fled North from the Spanish occupied Southern Netherlands when Roelant was about 4 years old and settled in Haarlem around 1585. He was taught painting by his older brother Jacob Savery (c.1565-1603) and Hans Bol. After his schooling, Savery traveled to Prague around 1604, where he became court painter of the Emperors Rudolf II (1552-1612) and Mathias (1557-1619), who had made their court a center of mannerist art. Between 1606-1608 he traveled to Tyrol to study plants. Gillis d'Hondecoeter became his pupil. Before 1616 Savery moved back to Amsterdam, and lived in the Sint Antoniesbreestraat. In 1618 he settled in Utrecht, where he joined the artist's guild a year later. His nephew Hans would become his most important assistant. In 1621 Savery bought a large house on the Boterstraat in Utrecht. The house had a large garden with flowers and plants, where a number of fellow painters, like Adam Willaerts were frequent visitors. Savery had kept his house in Amsterdam, and had one child baptized in Nieuwe Kerk (Amsterdam). Savery was friends with still life painters like Balthasar van der Ast and Ambrosius Bosschaert. In the 1620s he was one of the most successful painters in Utrecht, but later his life got troubled, perhaps because of heavy drinking. Though he would have pupils until the late 1630s, amongst which Allaert van Everdingen and Roelant Roghman, he went bankrupt in 1638 and died half a year later.