Italian Gothic Era Painter, ca.1250-1330 Italian painter and mosaicist active mainly in Rome. His major surviving works are mosaics depicting scenes from the life of the Virgin for the Roman church of Santa Maria in Trastevere (1290s) and fragments of a fresco cycle, including a Last Judgment, for the church of Santa Cecilia in Trastevere (c. 1293). He was the first to break with the stylizations of Byzantine art; his figures have a sense of weight and three-dimensionality. Cavallini had many students,   Related Paintings of CAVALLINI, Pietro :. | The Last Judgement (detail) fdg | The Last Judgement (detail) f | The Last Judgement (detail) rdgt | The Birth of Jesus dfg | Annunciation vfhdfhs |
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Duccio
1255-c1319 Italian Duccio Location Italian painter. He was one of the most important painters of the 14th century and like his slightly younger contemporary, Giotto, was a major influence on the course of Italian painting. An innovator, he introduced into Sienese painting new altarpiece designs, a dramatic use of landscape, expressive emotional relationships, extremely complex spatial structures and a subtle interplay of colour. His most important and revolutionary work, the Maeste for Siena Cathedral, was never matched during the 14th century, if at all, and his influence lasted well into the 15th century.
VIGNON, Claude
French Baroque Era Painter, 1593-1670 French painter, printmaker and illustrator. Born into a prosperous family in Tours, he received his early training in Paris, probably in Jacob Bunel's studio. In 1609-10 he travelled to Rome; although his presence there is recorded only in 1618-20, he was probably based there throughout that decade, becoming a member of the community of young French artists that included Simon Vouet and Valentin de Boullogne. They were all predominantly influenced by the art of Caravaggio and of his most direct follower Bartolomeo Manfredi. Vignon's severe half-length figures (St Paul, Turin, Gal. Sabauda; Four Church Fathers, on loan to Cambridge, Fitzwilliam), executed possibly even earlier than 1615, are in a Caravaggesque style, as are his paintings of singers, musicians and drinkers (e.g. the Young Singer, Paris, Louvre), although the latter group owes more to the style of contemporary genre painting. However, Vignon was already showing an interest in new artistic experiments, the origins of which were northern, Venetian and Mannerist. His sensitivity to the splendid colouring of Venice and to the art of Jacques Bellange, Georges Lallemand and Jacques Callot is manifest in his Martyrdom of St Matthew (1617; Arras, Mus. B.-A.), a work with striking references to Caravaggio's painting of the same subject (Rome, S Luigi dei Francesi), and still more so in his Adoration of the Magi (1619; Dayton, OH, A. Inst.), which also shows clear links with the art of several precursors of Rembrandt, including Adam Elsheimer, Pieter Lastman, Jakob Pynas and particularly Leonard Bramer.
Jose Teofilo de Jesus
painted asia in 1758-1847