Spanish painter active 1324-1348 His workshop was in Calle Cucurulla, Barcelona, and commissions from a variety of patrons, mostly royal, are documented. In 1324 he was paid for painting two chapels and two crosses for the church at Sitges. Between c. 1333 and c. 1335 he illuminated a book on the Usages of Barcelona and Customs of Catalonia for Alfonso IV of Aragon, and in 1335 he was paid for an altarpiece. Further payments, in 1339 and 1340, were for two altarpieces for the chapel of the Aljaferea Palace (a Moorish palace) in Saragossa. About 1340 he received a commission for an altarpiece of St Hilary for the diocese of Lleida (Sp. Lerida). In 1341 Bassa had begun work on three altarpieces for the Episcopal See at Lleida, commissioned by Ot de Montacada (c. 1290-1341). In 1342 Peter IV (the Ceremonious) of Aragon asked his wife, Maria of Navarre, to send him a Book of Hours illuminated by Ferrer Bassa, and in the same year the artist was also paid for a commission by Queen Constanza of Mallorca. In 1343 and 1344 he was paid for an altarpiece and other works for the chapel of the Aljaferea Palace in Saragossa and for an altarpiece for the chapel of the royal palace at Barcelona. In 1344 Bassa was commissioned to decorate the S Miguel Chapel, then the cell of the abbess in the Pedralbes Monastery, Barcelona, although he only started work in 1346. He was involved in further royal commissions in 1345, including an altarpiece for the chapel of the castle at Perpignan.  Related Paintings of BASSA, Ferrer :. | A Lady Seated at a Virginal | zigenarflicka pa stol | The Making of Ammunition | jean eric rehn | Dedham Lock and Mill |
Related Artists:
MASSYS, Cornelis
Flemish painter (1508-1550)
Simone Martini
1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.
Vincenzo Irolli
Italian,1860-1942