Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.   Related Paintings of GIOTTO di Bondone :. | The Bringing of the Rods to the Temple | Saint Francis and Saint Clare | Last Judgment | The Stefaneschi Triptych: St Peter Enthroned | Vision of the Ascension of St Francis |
Related Artists:
Edward Wilbur Dean Hamilton
American, 1864-1943
Jean Raoux
French Painter, 1677-1734, French painter. He trained first in Montpellier with Antoine Ranc (1634-1716), in whose studio he completed his early painting Ariadne on Naxos (1701; Montpellier, Mus. Fabre). He subsequently moved to the Paris studio of Bon Boullogne and in 1704 won the Prix de Rome with David Slaying Goliath (untraced). He completed his education at the Acad?mie de France in Rome and also spent time in Florence and Padua. For the Cathedral at Padua he executed an Annunciation and a Visitation (both in situ). In 1707-9 Raoux was in Venice, where he made contact with his future patron Philippe de Vendeme (1665-1727), Grand Prior of the Order of the Knights of Malta. From 1714 he lodged in the Grand Prior's Paris residence, the Temple, a privilege that was renewed in 1719 by Vendeme's successor Jean-Philippe,
BOTTICELLI, Sandro
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.