Italian Early Renaissance Painter, 1445-1510 Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli or Il Botticello ("The Little Barrel"; March 1, 1445 ?C May 17, 1510) was an Italian painter of the Florentine school during the Early Renaissance (Quattrocento). Less than a hundred years later, this movement, under the patronage of Lorenzo de' Medici, was characterized by Giorgio Vasari as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. His posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting, and The Birth of Venus and Primavera rank now among the most familiar masterpieces of Florentine art. Details of Botticelli's life are sparse, but we know that he became an apprentice when he was about fourteen years old, which would indicate that he received a fuller education than did other Renaissance artists. Vasari reported that he was initially trained as a goldsmith by his brother Antonio. Probably by 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner. As recently discovered, during this time, Botticelli could have traveled to Hungary, participating in the creation of a fresco in Esztergom, ordered in the workshop of Fra Filippo Lippi by Vitez J??nos, then archbishop of Hungary. By 1470 Botticelli had his own workshop. Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.  Related Paintings of BOTTICELLI, Sandro :. | The Punishment of Korah | Paradise | The Birth of Christ | Madonna of the Magnificat fg | Portrait of a Young Woman (La bella Simonetta) fs |
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PALAMEDESZ, Antonie
Dutch Baroque Era Painter, 1601-1673
Martin Johann Schmidt
Austrian Painter, 1718-1801,was one of the most outstanding Austrian painters of the late Baroque/Rococo along with Franz Anton Maulbertsch. A son of the sculptor Johannes Schmidt and a pupil of Gottlieb Starmayr, he spent most of his life at Stein, where he mostly worked in the numerous churches and monasteries of his Lower Austrian homeland. While the evolution of his style after 1750 shows that he had either spent a formative period in northern Italy or had at least had extensive contact with northern Italian works of art prior to that date, his works are also clearly influenced by Rembrandt (visible above all in his etchings) and the great fresco-painters of the Austrian Baroque, Paul Troger and Daniel Gran. Despite not having received formal academic training, in 1768 he was made a member of the imperial academy at Vienna due to his artistic merits, which by that time had already been recognized by a wider public inside and outside of Austria. Primarily he painted devotional images for private devotion and churches, including a considerable number of large altar paintings. His lively and colourful style made him extremely popular with people from all levels of society already during his lifetime. From 1780 mythological and low-life themes became increasingly frequent, only to be replaced by a renewed concentration on religious topics during the very last years of Schmidt's life. He was at that an important draughtsman and has left numerous etchings which clearly show Rembrandt's influence. While his earlier works typically show a warm chiaroscuro, from about 1770 he used increasingly stronger and more lively colours. Simultanueously, both his style and his brush technique became much more free, making him, like Franz Anton Maulbertsch, an important predecessor of impressionism. In this aspect, his mature style is completely contrary to neoclassicism, the style which increasingly dominated European art after about 1780.
Giuseppe Vermiglio
Giuseppe Vermiglio (c.1585 - c.1635) was a Caravaggist painter from Northern Italy, active also in Rome. Our knowledge of Vermiglioes life is sketchy. It is probable that he was born in Alessandria. He spent the first two decades of the seventeenth century in Rome where, while training and working as an artist, he adopted a bohemian lifestyle with a tendency to become involved in painterly brawling: in 1604 he supported his master Adriano di Monteleonees account of a dispute with two unknown artists which had led to Monteleone being wounded by his own wife; the following year Vermiglio was arrested and imprisoned after being discovered at the Monte di Brianza hostellry bearing an unlicensed sword; and in 1611 proceedings were brought against him for physically attacking the painter Silvio Oliviero. In 1618, still in Rome, he is recorded as a picture dealer. Around 1620 he returned to northern Italy where he pursued his career as a painter in Piedmont (Novara and Alessandria) and in Lombardy (notably in Mantua and Milan). His art was profoundly influenced by Caravaggio. Other painters to whom his work is thought, on the basis of stylistic references, to be indebted include the Bolognese Annibale Carracci and Guido Reni; it has been suggested that Vermiglio worked or studied in Bologna at some point. Luigi Lanzi acclaimed the painting of Daniel among the lions, in the library of the Passione in Milan, as his masterwork. Judgments of quality of his work have ranged from Alfred Moires inconsequential craftsmane to Lanzies the best painter in oils of which the ancient state of Piedmont could boast, and one of the best Italian artists of his times.