(1 August 1659 - 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. He was born in Belluno, son of Andreana and Livio Ricci. In 1671, he apprenticed to Federico Cerebri of Venice. Others claim Ricci's first master was Sebastiano Mazzoni. In 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young pregnant woman to avoid marriage. Imprisoned, he gained release only after intervention of a nobleman, probably a Pisani family member. He married the pregnant mother in 1691, although this was a stormy union. After his arrest, he moved to Bologna, where he domiciled near the Parish of San Michele del Mercato. His painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the "Fraternity of Saint John of Florence" to paint a Decapitation of John the Baptist for their Oratory. On 9 December 1685, the Count of San Segundo near Parma commissioned from Ricci the decoration of the Oratory of the Madonna of the Seraglio, which he completed in collaboration of Ferdinando Galli-Bibiena by October 1687, receiving a compensation of 4,482 Lira.   Related Paintings of Sebastiano Ricci :. | Heilige Familie mit Hl Anna | Maria in Gloria mit Erzengel Gabriel und Hl. Eusebius, Hl. Sebastian und Hl. Rochus | Venus und Amor | Ignatius von Loyola | Maria in Gloria mit Erzengel Gabriel und |
Related Artists:
Germain-Fabius Brest
French, 1823-1900
piero ligorio
Ligorio was born in Naples. In 1534 he moved to Rome, where he developed his interest in antiquities, and was named superintendent to the ancient monuments by the Popes Pius IV and Paul IV. In 1549 he began excavations in the Hadrian's Villa at Tivoli and designed his masterwork, the water works at Villa d'Este, for Cardinal Ippolito II d'Este. He also played a role in designing the fountains at Villa Lante in Bagnaio, working alongside Vignola. His Mannerist taste is present also in the Casina Pio IV (also known as Villa Pia) at the Vatican (1559?C1562). In 1568 he was fired by Paul V for having criticized Michelangelo's work in St. Peter's Basilica, and moved to Ferrara, where he was guest of Duke Alfonso II d'Este. As a scholar of antiquities, one of his most famous published works is a map of ancient Rome (Antiquae Urbis Imago) from 1561. He died in Ferrara in 1583.
Hans Burgkmair
(1473 - 1531) was a German painter and printmaker in woodcut. Burgkmair was born in Augsburg, the son of painter Thomas Burgkmair and his son, Hans the Younger, became one too. From 1488 he was a pupil of Martin Schongauer in Colmar, who died during his two years there, before Burgkmair completed the normal period of training. He may have visited Italy at this time, and certainly did so in 1507, which greatly influenced his style. From 1491 he was working in Augsburg, where he became a master and opened his own workshop in 1498. Hollstein ascribes 834 woodcuts to him, mostly for book illustrations, with slightly over a hundred being "single-leaf", that is prints not for books. The best of them show a talent for striking compositions, and a blend, not always fully successful, of Italian Renaissance forms and underlying German style. From about 1508 he spent much of his time working on the woodcut projects of Maximilian I until the Emperor's death in 1519. He was responsible for nearly half of the 135 prints in the Trumphs of Maximilian, which are large and full of character. He also did most of the illustrations for Weiss Kunig and much of Theurdank. He was an important innovator of the chiaroscuro woodcut, and seems to have been the first to use a tone block, in a print of 1508.His Lovers Surprised by Death (1510) is the first chiaroscuro print to use three blocks.and also the first print that was designed to be printed only in colour, as the line block by itself would not make a satisfactory image. Other chiaroscuro prints from around this date by Baldung and Cranach had line blocks that could be and were printed by themselves.He produced one etching, Venus and Mercury (c1520),etched on a steel plate, but never tried engraving, despite his training with Schongauer.