Italian High Renaissance Painter, ca.1430-1516 Giovanni Bellini (c. 1430 ?C 1516) was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.  Related Paintings of BELLINI, Giovanni :. | Four Allegories: Perseverance and Fortune ff | Madonna with the Child (Greek Madonna) | Madonna degli Alberetti 25 | Head of the Baptist 223 | Baptism of Christ ena |
Related Artists:
Aby Altson
Australian Classicist Painter, 1864-1949
Jan Vermeer van Utrecht
(bapt. 16 February 1630, Schipluiden - c. 1696, Vreeswijk), was a Dutch Golden Age painter. Though he was born near Delft, there is no known relation between this painter and Johannes Vermeer. His father died when he was 10 and he was raised by his step-grandfather in Rotterdam. According to Houbraken he travelled to Italy with Lieve Verschuier and became friends with Willem Drost and Johann Carl Loth. He returned North in 1662, where he became member of the Utrecht Guild of St. Luke in 1663 and became deacon of the guild 1664-1666.Houbraken tells a curious story about Vermeer van Utrecht in his biography of Jan Davidsz de Heem. In this story, on his return from Italy, Vermeer marries a widow who owns a white lead factory. He is wealthy and has a carefree life until his wife dies and then his factory is burned by French soldiers. He manages to save a garland painting by De Heem that he once paid 2000 guilders for. This was an enormous sum of money, but Houbraken mentions that his grandfather had been a wealthy man, and until his factory was destroyed, Vermeer van Utrecht had been painting for pleasure, rather than professionally. The amount is meant as an indication of the fame and esteem of De Heem, rather than the wealth of Vermeer van Utrecht. Vermeer van Utrecht then applies to his benefactor, Frederick Nassau de Zuylestein, to give him a government post in return for this painting, which he offers to paint with the likeness of the young prince Willem III in the middle of the garland. The lord of Zuylestein was the governor of the young prince from 1659 to 1666, so this deal must have been done sometime between 1662 (Vermeer van Utrecht's return from Italy), and 1672 (the death of the lord of Zuylestein). Apparently, the deal is done, and several years pass, in which Vermeer van Utrecht did become an appointed member of the Utrecht regency (Vroedschap), but where he felt like a fifth wheel. In 1672 the Utrecht council takes pity on him, and gave him the post of Toll-collector and controller of the river lock at Vreeswijk, where he later remarried.
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,