b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.  Related Paintings of Albrecht Durer :. | Betrayal of Christ | Self-Portrait | Emperor Sigismund | The Wire-drawing Mill | Apollo with the Solar Disc |
Related Artists:
Piero Pollaiuolo
(c. 1443 - 1496), also known as Piero Benci, was an Italian Renaissance painter from Florence. His brother was the artist Antonio del Pollaiolo and the two frequently worked together. Their work shows both classical influences and an interest in human anatomy; reportedly, the brothers carried out dissections to improve their knowledge of the subject. He died in Rome in 1496.
Guido Reni
1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.
MASTER of San Francesco Bardi
active 1240-1270 in Florence