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 Devils Cast our of Arezzo | Canonization of St Francis | The Birth of the Virgin | jesus infor oversteprasten kajafas | St Lawrence |
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Antonio Cavallucci
(21 August 1752 - 18 November 1795) was an Italian painter of the late Baroque. Cavallucci was born in Sermoneta in the Lazio. His artistic talents were recognized in an early stage by Francesco Caetani, Duke of Sermoneta in 1738-1810. In 1765, he brought the 13 year old Cavallucci to Rome, where he became a pupil of Stefano Pozzi and three years later of Gaetano Lapis. He also studied drawing at the Accademia di San Luca (c. 1769-1771). His earliest work dates from the mid-1760s. It is a tempera frieze in the Casa Cavallucci in Sermoneta. His first portrait was of his benefactor Duke Francesco Caetani. This portrait is only preserved as an engraving in 1772 by Pietro Leone Bombelli (1737-1809). His first major commission was the decoration of five audience chambers in the Caetani Palace in Rome in 1776. He painted mythological scenes and allegories appropriate for each room. In the early 1780s he painted mostly portraits, such as those of Francesco Caetani and Teresa Corsini, Duchess of Sermoneta. The Origin of Music (1786) is probably the most important painting of his mid-career. It was based on the illustrations in the book Iconologia (1593) from Cesare Ripa. The commissions kept coming under his new patron, Cardinal Romualdo Braschi-Onesti (1753-1817), nephew of the pope Pius VI. He has painted the portraits of his new benefactor and of the pope in 1788. He was inducted into the Accademia di San Luca in 1786, Academy of Arcadia in 1788, and the Congregazione dei Virtuosi al Pantheon in 1788. He is said to have painted St Benedict Joseph Labre while the saint was in ecstasy, or (as is perhaps more plausible), having seen the saint in ecstasy, to have brought him to his studio and painted his portrait there. In later years he worked for Cardinal Francesco Saverio Zelada, decorating his titular church San Martino ai Monti in Rome. Cavallucci died in Rome in 1795. He was influenced by Pompeo Batoni and Anton Raphael Mengs. There is in his art some of the northern European feeling that had made its way into Rome at the end of the eighteenth century. The Portuguese painter Domingos Sequeira was one of his pupils.
Anatoli Ilych Vasiliev
Anatoli Ilych Vasiliev (Russian: 18 March 1917, Petrograd (former Saint Petersburg), Russian Empire e June 4, 1994, Saint Petersburg, Russian Federation) was a Russian and Soviet realist painter, who lived and worked in Leningrad. He was a member of the Saint Petersburg Union of Artists (before 1992 named as the Leningrad branch of Union of Artists of Russian Federation), and regarded as one of the representatives of the Leningrad school of painting, most famous for his historical paintings and etudes done from nature.
Max Koch
(born July 17, 1854 - April 1, 1925) was a German-born Australian botanical collector. Born in Berlin, Koch was apprenticed to a merchant's office, but, not liking the work, joined the crew of a Glasgow-based sailing ship at Bremerhaven. He left it at Port Augusta, South Australia in April 1878, taking work at a wheat farm. Later he moved to Mount Lyndhurst sheep station, where he remained for many years. Around 1896 he began serious botanical collecting. Koch visited Germany around 1902-1903, then returned to Australia, and in 1904 moved to the extreme south-west of Western Australia, where he spent the next 17 years working in the timber industry. By that time he had a large family, and he supplemented his income by plant specimens, and, in his later years, seed. He died at Pemberton, Western Australia in 1925