Italian High Renaissance Painter, 1472-1517, also known as Baccio della Porta, was an Italian Renaissance painter of religious subjects. He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507.   Related Paintings of Fra Bartolomeo :. | Noli Me Tangere | Pieta | The Anunciacion, Holy Margarita, Maria Mary magdalene, Pablo, Juan the Baptist, Jeronimo and Francisco | The Rest on The Flight into Egypt | Lamentation |
Related Artists:
Lyon, Corneille de
Dutch practicing in France, approx. 1500-1575 Dutch painter, active in France. It is uncertain whether he was apprenticed in his native city of The Hague or in Antwerp, and nothing is known of him before 1533, when he was recorded in Lyon. It was possibly in the same year, while the French court was resident in Lyon, that Corneille was made painter to Queen Eleanor, the second wife of Francis I. In 1541 Corneille was painter to the Dauphin (later Henry II), and when the new king succeeded to the throne (1547) and made his state entry into Lyon in 1548, Corneille became Peintre du Roi. Corneille had obtained his naturalization papers in December 1547 and retained French nationality for the rest of his life. He married Marguerite Fradin, the daughter of a Lyon printer of some importance, and this allowed him to enter Lyon society. His studio was extremely prosperous until c. 1565, the year he is known to have visited Antwerp, but disappeared completely after his death despite the fact that he founded a dynasty of painters. His sons Corneille de La Haye II (b 1543) and Jacques de La Haye and his daughter Cl?mence de La Haye were all painters, and the family continued to be known for its artists until the 18th century. Corneille de Lyon was a Protestant, like all those in the circles in which he moved, and it may be that the decline of his fortunes in the 1560s was precipitated by the reversion of Lyon to the Catholic faction
Nanteuil, Robert
French, 1623-1678 French engraver, draughtsman and pastellist. He was the son of Lancelot Nanteuil, a wool merchant, and submitted his thesis in philosophy, for which he engraved the headpiece, at the Jesuit College of Reims, in 1645. He went on to work in the studio of Nicolas Regnesson, whose sister he married in 1646, before moving to Paris in 1647. His early work mainly consisted of portrait drawings in black lead on parchment (e.g. Paris, Louvre), and he continued to draw throughout his career. He took 155 of his 221 portraits directly from life. His drawing style was influenced by Philippe de Champaigne, and he based his engraving technique on the work of Claude Mellan and Jean Morin.
Ligeti, Antal
Hungarian Painter, 1823-1890