Italian Early Renaissance Painter, 1474-1515 Already as a 12-year old boy, he became a pupil of Cosimo Rosselli, and a fellow-pupil with Fra Bartolomeo with whom he formed such an intimate brotherly rapport that in 1494 the two started their own studio in Florence. Vasari's opinion was that Mariotto was not so well grounded in drawing as Bartolomeo, and he tells that, to improve his hand he had taken to drawing the antiquities in the Medici garden, where he was encouraged by Madonna Alfonsina, the mother of Duke Lorenzo II de' Medici. When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's. When, in the wake of Savonarola's morality campaign, Baccio joined the Dominican order as Fra Bartolomeo in 1500 and gave up painting, Albertinelli, beside himself with the loss, would have joined him; but, spurred by his success in completing an unfinished Last Judgment of Bartolomeo's, he resolved to carry on alone. Among his many students were Jacopo da Pontormo, Innocenzo di Pietro Francucci da Imola and Giuliano Bugiardini. Albertinelli's paintings bear the imprint of Perugino's sense of volumes in space and perspective, Fra Bartolomeo's coloring, the landscape portrayal of Flemish masters like Memling, and Leonardo's Sfumato technique. His chief paintings are in Florence, notably his masterpiece, the Visitation (1503) at the Uffizi.  Related Paintings of ALBERTINELLI Mariotto :. | The Church Militant and Triumphant | Seascape | The Virgin and Child Adored by Saints Jerome and Zenobius (mk05) | Annunciation_00 | The Church Militant and Triumphant gg |
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Davies Arthur Bowen
American Symbolist Painter, printmaker and tapestry designer , b.1862 d.1928 American painter and illustrator. He first trained as an architectural draughtsman at the Academy of Design, Chicago (1878). After studying briefly at the Art Institute of Chicago, he went to New York, where he attended the Gotham School and the Art Students League (1886-8). By 1887 he was working as an illustrator for Century magazine. A realist landscape painter in the 19th-century academic tradition, he was influenced by the painters of the Hudson River school and particularly by the luminist, dream-like landscapes of George Inness.
Artemisia gentileschi
1593-1652 was an Italian Early Baroque painter, today considered one of the most accomplished painters in the generation influenced by Caravaggio. In an era when women painters were not easily accepted by the artistic community, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence. She was one of the first female artists to paint historical and religious paintings, at a time when such heroic themes were considered beyond a woman's reach. Artemisia Gentileschi was born in Rome, July 8, 1593, the first child of the Tuscan painter Orazio Gentileschi, one of the best representatives of the school of Caravaggio. Artemisia was introduced to painting in her father's workshop, showing much more talent than her brothers, who worked alongside her. She learned drawing, how to mix color and how to paint. Since her father's style took inspiration from Caravaggio during that period, her style was just as heavily influenced in turn. But her approach to subject matter was different from her father's, as her paintings are highly naturalistic, where Orazio's are idealized. The first work of the young 17-year-old Artemisia (even if many at the time suspected that she was helped by her father) was the Susanna e i Vecchioni (Susanna and the Elders) (1610, Schönborn collection in Pommersfelden). The picture shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school (which had Annibale Carracci among its major artists). It is one of the few Susanna paintings showing the two men planning their sexual harassment. It is likely that Artemisia had been sexually harrassed and painted Susanna as a reflection. In 1612, despite her early talent, Artemisia was denied access to the all-male professional academies for art. At the time, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis had helped Tassi with the rape. After the initial rape, Artemisia continued to have sexual relations with Tassi, with the expectation that they were going to be married. However, Tassi reneged on his promise to marry Artemisia after he heard the rumor that she was having an affair with another man. Quorlis had threatened that if he could not have her, he would publicly humiliate her. Orazio pressed charges against Tassi only after he learned that Artemisia and Tassi were not going to be married. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of this trial was the fact that Tassi had deflowered Artemisia. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not be able to press charges. In the ensuing 7-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law and planned to steal some of Orazio??s paintings. During the trial Artemisia was given a gynecological examination and was tortured using a device made of thongs wrapped around the fingers and tightened by degrees ?? a particularly cruel torture to a painter. Both procedures were used to corroborate the truth of her allegation, the torture device used due to the belief that if a person can tell the same story under torture as without it, the story must be true. At the end of the trial Tassi was imprisoned for one year. The trial has subsequently influenced the feminist view of Artemisia Gentileschi during the late 20th century. The painting Giuditta che decapita Oloferne (Judith beheading Holofernes) (1612 - 1613), displayed in the Capodimonte Museum of Naples, is impressive for the violence portrayed, and has been interpreted as a wish for psychological revenge for the violence Artemisia had suffered. One month after the trial, in order to restore her honor, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterwards the couple moved to Florence, where Artemisia received a commission for a painting at Casa Buonarroti and became a successful court painter, enjoying the patronage of the Medici family and Charles I. It has been proposed that during this period Artemisia also painted the Madonna col Bambino (The Virgin and Child), currently in the Spada Gallery, Rome. While in Florence,
Cornelis Saftleven
(c. 1607, Gorinchem - 1 June 1681, Rotterdam) was a Dutch Golden Age painter He was born into a family of artists, and learned to paint from his father Herman, along with his brothers Abraham and Herman Saftleven the Younger. He lived for a time in Utrecht with his brother. Saftleven's subject matter covered various subjects, including genre works, portraits, beach scenes, and biblical and mythological themes. Some consider his images of Hell to be his most individual contribution to Dutch painting