Italian High Renaissance Architect and Painter, 1444-1514 In the first decade of the 16th century Donato Bramante was the chief architect in Rome, which had just replaced Florence as the artistic capital of Europe because the patronage of Pope Julius II (reigned 1503-1513) attracted all the leading Italian artists to that city. It is particularly the triumvirate of artists - Michelangelo the sculptor and painter, Raphael the painter, and Bramante the architect - who dominated this period, usually called the High Renaissance, and whose influence overwhelmed the following generations. Donato di Pascuccio d'Antonio, called Bramante, was born in 1444 at Monte Asdruvaldo near Urbino. Nothing is known of the first 30 years of his life. During that period, however, the court of Federigo da Montefeltro at Urbino was a flourishing humanistic and cultural center, attended by artists such as Piero della Francesca, Melozzo da Forll, and Luciano Laurana, who probably influenced the young Bramante. The first notice of Bramante dates from 1477, when he decorated the facade of the Palazzo del Podestaat Bergamo with a frescoed frieze of philosophers.  Related Paintings of BRAMANTE :. | Abraham DavelAbraham Davel | Birds, French anonymous of the early 17th century | Alessandro Turchi | Louis Stanislas Xavier, comte de Provence | Execution of major en:Abraham DavelAbraham Davel |
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Charles Alphonse du Fresnoy
(1611C1665), French painter and writer on his art, was born in Paris, son of an apothecary. He was destined for the medical profession, and well educated in Latin and Greek; but, having a natural propensity for the fine arts, he would not apply to his intended vocation, and was allowed to learn the rudiments of design under Perrier and Vouet. At the age of twenty-one he went off to Rome, with no resources; he drew ruins and architectural subjects. After two years thus spent he re-encountered his old fellow-student Pierre Mignard, and by his aid obtained some amelioration of his professional prospects. He studied Raphael and the antique, went in 1633 to Venice, and in 1656 returned to France. During two years he was now employed in painting altar-pieces in the château du Raincy, landscapes, etc. His death was caused by an attack of apoplexy followed by palsy; he expired at Villiers-le-Bel, near Paris. He never married. His pictorial works are few; they are correct in drawing, with something of the Caracci in design, and of Titian in colouring, but wanting fire and expression, and insufficient to keep his name in any eminent repute. He is remembered now almost entirely as a writer rather than painter. His Latin poem, De arte graphica, was written during his Italian sojourn, and embodied his observations on the art of painting; it may be termed a critical treatise on the practice of the art, with general advice to students. The precepts are sound according to the standard of his time; the poetical merits slender enough. The Latin style is formed chiefly on Lucretius and Horace.
Sebastiano Conca
Italian Baroque Era Painter , 1680-1764 was an Italian painter. He was born at Gaeta, then part of the Kingdom of Naples, and apprenticed in Naples under Francesco Solimena. In 1706, along with his brother Giovanni, who acted as his assistant, he settled at Rome, where for several years he worked in chalk only, to improve his drawing. He was patronized by the Cardinal Ottoboni, who introduced him to Clement XI, who commissioned a well-received Jeremiah painted for the church of St. John Lateran. Conca was knighted by the pope. He collaborated with Carlo Maratta in the Coronation of Santa Cecilia in the namesake's church of Santa Cecilia in Trastevere (1721-24). He was elected in 1718 to the Accademia di San Luca and its director in 1729-1731 and 1739-1741. His painting was strongly influenced by the Baroque painter Luca Giordano. Among Conca's pupils were Pompeo Battoni, Andrea Casali, Placido Campoli, Corrado Giaquinto, Gaetano Lapis, Salvatore Monosilio, Literio Paladini, Drancesco Preziao, Rosalba Maria Salvioni, Gasparo Serenari, and Agostino Masucci, He received widespread official acclaim and patronage. He worked for a time for the Savoy family in Turin on the Oratory of San Filippo and Santa Teresa, in the Venaria (1721-1725), for Basilica di Superga (1726), and Royal Palace (1733). He painted frescoes of Probatica, or Pool of Siloam, in the Ospedale di Santa Maria della Scala (hospital) of Siena. In Genoa, he painted large allegorical canvases of the Palazzo Lomellini-Doria (1738-1740). In 1739, he published a guide to painting: Ammonimenti (or Admonishments), which blended moralistic advice with technique. He returned to Naples in 1752, and enjoyed the royal patronage of Charles III.
Abraham Hulk
1813-1897 Born in London, the senior member and best known of a family of painters, Abraham Hulk studied in Holland at the Amsterdam Academy under portrait painter Jean Augustin Daiwaille.