b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.  Related Paintings of Andrea del Sarto :. | The Madonna of the Stair (san05) | Madonna mit Hl Johannes | Donor | SS.Michael the Archangel and John Gualbert SS.John the Baptist and Bernardo degli berti | Christ the Redeemer ff |
Related Artists:
Charles Lebrun
French Pand art Theorist , Paris1619-190 Virtual dictator of the arts in France until the death of Colbert in 1683. He established his reputation by a series of decorative schemes, and his own greatest compositions, which immortalize the achievements of the crown, are at Versailles. He became a founder, rector, chancellor, and finally director of the Academie Royale de Peinture et de Sculpture. He was also director of the Gobelins factory and Premier Peintre (1664). His Tent of Darius (1661), for Louis XIV, is a model of legibility, with the explicit and varied gesture and expression of the figures deriving from ideas expressed by Poussin. Lebrun's influential treatise,
Ivan Nikitin
Russian Painter, ca.1680-1742,Russian painter. The son of a Moscow priest who was close to the imperial court, Nikitin probably studied at the workshop of the Armoury Palace in Moscow and subsequently worked chiefly in St Petersburg. His early portraits were of Peter the Great and members of Peter family, for example the portraits of Peter daughters Elizabeth (St Petersburg, Rus. Mus.) and Anne (Moscow, Tret yakov Gal.) and of his sister Natal ya Alekseyevna (St Petersburg, Rus. Mus.). One of the few signed and dated works is a portrait of Praskov ya Ioannovna, Daughter of Tsar Ivan V (1714; St Petersburg, Rus. Mus.). Nikitin style was formed at the time of Peter the Great reforms of the administrative and education system in Russia, and he ranks as a pioneer of a new style in Russian painting. In his early works, up to 1716, he adapted the medieval Russian style of portraiture to the forms of contemporary European examples.
Girolamo Genga
Italian Painter and Architect , 1476-ca.1551 was an Italian painter and architect of the late Renaissance, Mannerist Genga was born near Urbino. According mainly to Giorgio Vasari's biography, by age thirteen Genga had gained an apprenticeship in Orvieto under Luca Signorelli. He was afterwards for three years with Pietro Perugino, in company with Raphael. He next worked in Florence and Siena (where he decorated the Petrucci palace c. 1508), along with Timoteo della Vite; and in the latter city he painted various compositions for Pandolfo Petrucci, a leading local statesman. Returning to Urbino, he was employed by Duke Guidobaldo da Montefeltro in the decorations of his palace, and showed extraordinary aptitude for theatrical adornments. He is recorded as having help design the decorations for the Duke's funeral in 1508. From Urbino, he went to Rome and painted church of Santa Caterina da Siena one of his masterpieces: The Resurrection. Francesco Maria I della Rovere, duke of Urbino, recalled Genga, and commissioned him to execute works in connection with his marriage to Eleonora Gonzaga in 1522. This prince being soon afterwards expelled by Pope Leo X, Genga followed him to Mantua, whence he went for a time to Pesaro. The duke of Urbino was eventually restored to his dominions; he took Genga with him, and appointed him the ducal architect and decorator. He worked extensively on the Villa Imperiale on Mount Accio . Among his work in Urbino, was the scenography of plays,