Italian Painter, 1492-1527 He trained in Florence with Ridolfo Ghirlandaio and in the workshops of Antonio del Ceraiuolo ( fl 1st half 16th century) and Andrea del Sarto. What may be his earliest surviving work, the Virgin and Child with St John (c. 1513; Rome, Pal. Venezia), reflects the style of Ghirlandaio. Other early paintings, however, such as the Holy Family (Florence, Gal. Corsini), show the influence of Fra Bartolommeo and Andrea del Sarto and are little affected by Ghirlandaio. The Virgin and Child with the Infant St John (c. 1522; Florence, Pitti) clearly reflects the examples of Fra Bartolommeo and Raphael, with the figures in the manner of Andrea del Sarto. The figure of the Christ Child may derive from Raphael's Madonna of the Pinks (c. 1507-8; Alnwick Castle, Northumb., on loan to London, N.G.). Over a dozen drawings have been attributed to Puligo, but none relates to his extant work or resembles his style of painting. Vasari described him as a particularly lazy artist, which may account for this scarcity of drawings and for the frequency of borrowed motifs and repeated compositions in his smaller religious paintings. Such borrowing often resulted in a lack of harmony in his compositions, as in the Pitti Virgin and Child. The influence of the more sculptural forms of Andrea del Sarto's work of the 1520s can be seen in the Mary Magdalene (c. 1525; Ottawa, N.G.).   Related Paintings of PULIGO, Domenico :. | Group with Parasols | Self portrait | Port de Brest | Regatta at Sainte-Adresse | school of athens |
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Raffaellino del garbo
Italian Early Renaissance Painter , ca.1466-1524 Italian painter and draughtsman. According to Vasari, he began as the most gifted assistant of Filippino Lippi and the most promising painter of the new generation but never fulfilled expectations, deteriorating into mediocrity and worse. Raffaellino's first known work is the frescoed vault of a small antechamber off Filippino Lippi's Carafa Chapel in S Maria sopra Minerva, Rome, uncovered during restoration in the 1960s. It was decorated with pagan themes, to Filippino's designs, apparently after the main chapel was completed in 1493. Filippino's influence is evident in the all'antica detail and animated figure style, to which Raffaellino brought a youthful freshness and charm. Vasari, in his account of the vault, likened it to an illuminator's work. It has been suggested that Raffaellino remained in Rome and worked with Bernardino Pinturicchio in the Borgia apartments in the Vatican, where some frescoes of 1495 show stylistic affinities with Raffaellino's work in S Maria sopra Minerva.
Rafal Hadziewicz
(13 October 1803 - 7 September 1883) was a Polish historical painter. Born in Zamch, Hadziewicz attended art school from 1816 to 1822. In 1822 he studied at Warsaw University under Antoni Brodowski. After getting a scholarship he traveled to Dresden in 1829 and later to Paris, where he studied at a prominent French School of Painting. In 1831 he continued his studies in Rome. He stayed in Rome in 1833 for self-study of the masters. At this time he created many well-received sketches. In 1834 he went to Krakew and painted icons for several Orthodox churches there. In 1839 he left for Moscow, where he served in the Department of Fine Art and Mathematics until 1844. In 1844 he moved back to Warsaw, where he served as a professor in the Warsaw School of Art. In 1871, near the end of his life, he was transferred to a university in Kielce, where he died. Hadziewicz painted many religious paintings and portraits but was best known for historic compositions, which were often compared to art of the Italian Renaissance and European Baroque.
NC Wyeth
American Golden Age Illustrator, 1882-1945 1882-1945,was an American artist and illustrator. He was the star pupil of the artist Howard Pyle, and became one of America's greatest illustrators. During his lifetime, Wyeth created over 3,000 paintings and illustrated 112 books,25 of them for Scribner's, the work for which he is best known. Wyeth was a realist painter just as the camera and photography began to compete with his craft. Sometimes seen as melodramatic, his illustrations were designed to be understood quickly Wyeth who was both a painter and an illustrator, understood the difference, and said in 1908,