1370-1427 Italian Gentile da Fabriano Locations Gentile da Fabriano, whose real name was Gentile di Niccolo di Giovanni di Massio, came from Fabriano in the Marches. According to tradition, his family was an old one and moderately prosperous. His father, who was said to have been a scholar, mathematician, and astrologer, became an Olivetan monk when a monastery of that order was established in Fabriano in 1397. Gentile brother, Ludovico, was a monk of the same order in Fabriano, and Gentile himself was living in the Olivetan monastery of S. Maria Nuova in Rome at the time of his death. A document of Oct. 14, 1427, speaks of him as dead. Gentile art indicates that he was probably trained in Lombardy, perhaps in Milan. He worked in the then current International Gothic style, to which he brought his own personal quality. His earliest works display the decorative rhythmic drapery patterns preferred by the International Gothic masters, which Gentile tempered and ultimately abandoned after his contact with Florentine art. In a document of 1408 Gentile is recorded in Venice, where he painted an altarpiece (now lost) for Francesco Amadi. Testifying to his high reputation was his commission in 1409 for frescoes in the Doges Palace in Venice (painted over in 1479). Pandolfo Malatesta commissioned Gentile to decorate a chapel (destroyed) in Brescia in 1414. The artist is last recorded in Brescia on Sept. 18, 1419, when he departed for Rome to answer the summons of Pope Martin V. Gentile name first appeared on the roll of painters in Florence in 1421. He was in Siena in 1420 and 1424-1425 and in Orvieto late in 1425. From 1426 until the time of his death he was in Rome. Typical of Gentile early style is the polyptych (ca. 1400) from the convent of Valle Romita in Fabriano, in which Gentile displays the International Gothic love for naturalistic detail in the floral turf beneath the feet of the graceful, slender saints whose figures are swathed in rhythmic, linear drapery. The central panel, the Coronation of the Virgin, shows the love for calligraphic drapery so characteristic of Gentile early style. Other noteworthy early works include the much damaged Madonna in Perugia and the Madonna with Saints and Donor in Berlin. The altarpiece Adoration of the Magi, signed and dated 1423, was Gentile major work in Florence. In remarkably good condition, with its original frame still intact, it shows Gentile Gothicism now tempered by his contact with the more austere art of Florence. The rich display of gold leaf and brilliant colors were favorite International Gothic traits, but in the interest in perspective and foreshortening and especially in the exquisite predella panels Gentile shows the influence of the Florentines. The altarpiece for the Quaratesi family, signed and dated 1425, also demonstrates the composite quality of Gentile art. The fresco Madonna Enthroned in Orvieto Cathedral of late 1425 has few traces of the International Gothic style and displays a corporeality and fullness in keeping with his evolution after Florence. His last works, the frescoes in St. John Lateran in Rome depicting the life of John the Baptist and grisaille portraits of saints, were destroyed in 1647, when Francesco Borromini reconstructed the interior.  Related Paintings of Gentile da Fabriano :. | The Adoration of the Magi3 | The Presentation in the Temple | Four Saints of the Quaratesi Polyptych | Quaratesi | Details of Madonna and child,with sts.lawrence and julian |
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Gentile da Fabriano
Fabriano ca 1370-Rome 1427 Italian painter, one of the outstanding exponents of the elegant international Gothic style. In 1409 he worked in the Doge's Palace, Venice, painting historical frescoes that subsequently perished. In 1422 he was in Florence where he created his most celebrated painting, the resplendent Strozzi altarpiece (Uffizi). Gentile painted in the spirit and the manner of the older school, with glowing color and lavish use of gilt, thereby achieving a jewellike, courtly style. By 1425 he had responded to the new Florentine realism. His refined forms yielded to a sturdier rendering of figures in the Quaratesi altarpiece (panels are now in the Uffizi; Vatican; National Gall., London; and National Gall. of Art, Washington, D.C.). From 1425 until his death he worked in Siena, Orvieto, and Rome. Gentile died in Rome before the completion of the frescoes of St. John the Baptist in the Lateran Basilica.
Andries van Eertvelt
1590-1652 Flemish Andries van Eertvelt Location Flemish painter. He enrolled as a member of Antwerp Guild of St Luke in 1609. In 1615 he married Catherine Vlieger (d 1627), after whose death he went to Genoa, where he worked for Cornelis de Wael. By c. 1630 he was back in Antwerp, where he had his portrait painted by Anthony van Dyck (1632; Augsburg, Schaezlerpal.). In 1633 Eertvelt married Elisabeth Boots, probably a daughter of the Antwerp painter Jan Boots (b before 1620). Eertvelt is regarded as the first Flemish marine painter. Over the years his palette and style changed. His first paintings, mostly of ships in storms (e.g. Sea Battle in a Storm; Schwerin, Staatl. Mus.), were painted in greenish-black and brown tones, often using white to highlight the rigging against the dark sea. After his tour of Italy he favoured views of southern harbours, with calm seas painted in soft tones (e.g. Spanish Ships Leaving a Port; Vienna, Ksthist. Mus.). In his day Eertvelt was a man of distinction whose artistic qualities were praised by the poet Cornelis de Bie and whose marine paintings were appreciated abroad, some being exported as far as Seville and Lisbon. His pupils included Gaspard van Eyck (1613-73), Hendrik Minderhout (1632-96) and Matthieu van Plattenberg.
Simon Hollosy
1857-1918 Hungarian Simon Hollosy Gallery Simon Hollosy (Romanian: Simion Corbu); (2 February 1857, Maramarossziget, now Sighetu Marmatiei - 8 May 1918, Tecso, now Tiachiv) was a Hungarian painter. He was considered one of the greatest Hungarian representatives of 19th century Naturalism and Realism. Holl??sy came from an Armenian family who settled in Maramarossziget (present-day Sighetu Marmaţiei, Romania). He frequently worked abroad. He criticized training at the Academy and founded a private school in 1886 where he gathered young talents around him who were interested in realistic protrayal. He opened the way to new styles by relying on his personality and by pointing out the merits of French pictures (Courbet) exhibited in Munich. He abandoned the academic style in order to follow new trends in French painting. Encouraged by Istvan Reti and Janos Thorma, his pupils and friends, he spent the summer of 1896 in Nagyb??nya (present-day Baia Mare, Romania) with his school, which played an important role in Hungarian painting as the cradle of the Nagybanya school. He soon settled down in Nagybanya. With its style (sunny landscapes), his school determined Hungarian painting for decades. Leaving the Nagyb??nya colony in 1901, he spent the summers in Tecso with his students from 1902. During winters he was in Munich to run his school there. He was not productive as an artist: he was in search of atmospheres and his productivity was confined to teaching. His large scale plan of "Rakoczi March" with a lot of figures got as far sketches because he kept on changing his mind. The landscapes painted in Tecso include "Landscape in T??cső", "Landscape with Stacks and Sunset with Stacks", where he applied elements of plein air and impressionism. His self-portrait (1916) is one of his most harrowing pictures.