Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,   Related Paintings of RAFFAELLO Sanzio :. | Maria mit Christuskind und zwei Heiligen, Tondo | Bishop | Vision of the Cross | The Battle of Ostia | Diotalevi Madonna |
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Jean-Pierre Franque
French, 1774-1860,French painter. He and his twin brother, Joseph-Boniface Franque (1774-1833), who was also a painter, were the sons of a modest farmer and, according to a local story, their youthful talent was such that the provincial government paid for them to study in Grenoble. They enrolled at the Ecole Gratuite in Grenoble and stayed for about two years (1786-8), training to become engravers. During the revolutionary period, the twins' education was taken over by the Departement de la Dreme. In 1792 their case was discussed at the National Assembly in Paris, which placed them in David's atelier and provided a pension for four years. David agreed to educate them but refused payment, writing to the President of the Assembly, 'I am overjoyed to be chosen to be the first teacher of these youths who could be called children of the nation since they owe everything to her.' The two brothers were considered very promising students, and David asked Jean-Pierre to assist him in the execution of the Intervention of the Sabine Women (1796-9; Paris, Louvre). Jean-Pierre also became involved with LES PRIMITIFS and the mysterious Maurice Quae (1779-1804), who reacted against Davidian principles and advocated a return to 'primitive' 15th-century Italian art. Franque demonstrated his independence from David in the selection of the subject for his 1806 Salon debut, the Dream of Love Induced by the Power of Harmony (destr.). In the spring of 1807 he was one of the 26 painters who entered a sketch (untraced) for the competition for a large painting representing Napoleon on the battlefield of Eylau, a competition won by Gros. In 1810 Franque produced Allegory of the Condition of France before the Return from Egypt (Paris, Louvre).
Ozias Humphry
Ozias Humphry (or Humphrey) (8 September 1742 -9 March 1810) was a leading English painter of portrait miniatures, later oils and pastels, of the 18th century. He was elected to the Royal Academy in 1791, and in 1792 he was appointed Portrait Painter in Crayons to the King. Born and schooled in Honiton, Devon, Humphrey was attracted by the gallery of casts opened by the Duke of Richmond and came to London to study art at Shipley's school. He also studied art in Bath (under Samuel Collins, taking over his practice in 1762); in Bath, he lodged with Thomas Linley. As a young artist, his talent was encouraged by Thomas Gainsborough and Sir Joshua Reynolds, among others. His problems with his sight, which ultimately led to blindness, began in the early 1770s and forced him to paint larger works in oils and pastel. He travelled to Italy in 1773 with his great friend George Romney, stopping en route at Knole, near Sevenoaks in Kent, where the Duke of Dorset commissioned several works from him. His stay in Italy lasted until 1777. On his return, his numerous subjects included George Stubbs (1777), fellow academician Dominic Serres, the chemist Joseph Priestley, and a portrait claimed to be of the teenage Jane Austen, from perhaps as early as 1790 (clothing styles suggest a later date), known as the "Rice" portrait after a later owner, though this has always been a controversial attribution of the sitter. This failed to reach its minimum estimate in a Christies auction in April 2007, and was withdrawn from sale. His pupils included John Opie. He compiled a fifty-page manuscript A Memoir of George Stubbs, based on what Stubbs had related to him; it is the only contemporary biography. This was edited and privately published in the 1870s and republished in 2005. He also knew William Blake and commissioned copies of some of his illustrated books. At least one of Blake's letters to him is a significant document for Blake's biographers.
Barocci, Federico
Italian, 1535-1612 .Italian painter. The leading altar painter in Italy in the second half of the 16th century, he enjoyed a greater popularity and exerted a more profound influence on the art of his time than any of his contemporaries. His patrons included the Pope, Emperor, King of Spain and Grand Duke of Tuscany, and among his admirers were Lodovico Cigoli, Annibale Carracci, Rubens and Guido Reni. However, his work did not begin to receive the acclaim accorded that of Tintoretto or El Greco until the mid-20th century. Several factors have obscured his importance, notably the relative inaccessibility and scarcity of his painted works, most of which were done on commission for specific locations in remote parts of Italy (where they have remained), and the type of painting he produced, which was almost exclusively devoted to religious subjects. He executed very few easel paintings. No autograph example of his painted work has ever left Europe, the portrait of Quintilia Fischieri (c. 1600; Washington, DC, N.G.A.) and pair of portraits of Federigo Ubaldo, Prince of Urbino