Italian painter, Umbrian school (b. 1450, Citta della Pieve, d. 1523, Perugia). Italian painter and draughtsman. He was active in Perugia, Florence and Rome in the late 15th century and early 16th. Although he is now known mainly as the teacher of Raphael, he made a significant contribution to the development of painting from the style of the Early Renaissance to the High Renaissance. The compositional model he introduced, combining the Florentine figural style with an Umbrian use of structure and space,  Related Paintings of PERUGINO, Pietro :. | Christ Handing the Keys to St. Peter (detail) af | Madonna in Glory with the Child and Saints f | Mary Magdalen | Baptism of Christ (detail) a | St Nicholas of Tolentino a |
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Anna Lea Merritt
American Pre-Raphaelite Painter, 1844-1930 English painter, muralist and printmaker of American birth. She is best known for her Victorian portraits, allegorical and religious paintings, landscapes and floral scenes and was successful in spite of the difficulties that she encountered as a professional woman artist working in Victorian England. After brief artistic tours to Florence, Dresden and Paris, where she studied in L?on Cogniet's atelier, she began intensive instruction in 1870 from Henry Merritt (1822-77), an Englishman who restored works of art from important collections and wrote on art, exhibitions and conservation. Anna Lea and Henry Merritt were married in July 1877; three months later he died. Love Locked out (1889; London, Tate), depicting love at the door of a tomb, was painted as a memorial to her husband.
Nardo, Mariotto diNM
Italian Painter, active ca.1394-1424
Wouter Johannes van Troostwijk
1782-1810 Dutch Wouter Johannes van Troostwijk Gallery Dutch painter, draughtsman and etcher. In 1803 he was admitted to the Amsterdam Tekenacademie where he was a pupil of the director, Jurriaan Andriessen. Despite a highly successful student career that culminated in a gold medal from the Felix Meritis Society in 1807, he was unable to establish himself as a professional artist during the remainder of his very short working life in Amsterdam. Andriessen's studies from nature seem to have been an important influence; van Troostwijk was one of the earliest artists to paint en plein air. Although he looked back to 17th-century Dutch landscape art and to the work of his contemporaries, in such paintings as Landscape in Gelderland (c. 1808; Amsterdam, Rijksmus.; see NETHERLANDS, THE, fig. 21) he achieved a totally new lyricism in the rendering of atmospheric effects. The Raampoortje (1809; Amsterdam, Rijksmus.) displays a fresh colouristic touch rare in Dutch painting of this period. His Self-portrait (c. 1810; Amsterdam, Rijksmus.) is equally original in composition and colour. He also produced animal paintings in the manner of Paulus Potter, drawings and a few etchings towards the end of his life. Van Troostwijk died before his considerable talents could be recognized, and, although he has come to be seen as an important precursor of much late 19th-century Dutch painting, he had little influence on his immediate successors.