Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.  Related Paintings of Raphael :. | Portrait of Cardinal Bibbiena | Bowl of Peaches | Portrait of Maria Antonia Walpurgis of Bavaria | The Transfiguration | The Blessing Christ |
Related Artists:
Evert Larock
painted Cinder clearance in
Piet Mondrian
Dutch 1872-1944 Piet Mondrian Location was a Dutch painter. He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of a grid of vertical and horizontal black lines and the use of the three primary colours. When 47-year-old Piet Mondrian left his artistically conservative native Holland for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of Neo-Plasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Then again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London??s Hampstead in 1938 and 1940, across the Atlantic to Manhattan. At 71 in the fall of 1943, Mondrian moved into his second and final New York studio at 15 East 59th Street, and set about again to create the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records, Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had ever inhabited. Tragically, he was there for only a few months: he died of pneumonia in February 1944.
Jacob Duck
1600-1667 Dutch Jacob Duck Location Dutch painter and etcher. He was long confused with Jan le Ducq (1629/30-76). In 1621 he was listed as an apprentice portrait painter in the records of the Utrecht Guild of St Luke. His teacher was probably Joost Cornelisz. Droochsloot (1586-1666). The St Job Hospital in Utrecht acquired a Musical Company by him in 1629. By 1630-32 he was a master in the guild. Like Pieter Codde, he painted guardroom scenes (kortegaerdjes), for example Soldiers Arming Themselves (c. 1635; New York, H. Shickman Gal., see 1984 exh. cat., no. 36) or the Hoard of Booty (Paris, Louvre), in which the figures and their interactions are apparently full of underlying symbolic meaning. He also painted merry companies (e.g. c. 1630; Names, Mus. B.-A.) and domestic activities, such as Woman Ironing (Utrecht, Cent. Mus.), employing motifs perhaps symbolic of domestic virtue. He placed his figures in high, bare interiors in which the deep local colours of the foreground stand out well against the cool, greyish-brown background. Only a few of his etchings are known (Hollstein, Dut. & Flem., vi, pp. 9-11), depicting figures in contemporary dress, for example Young Gentleman with Broad Hat and Cloak (Hollstein, no. 10) or Virgin and Child with Magi (nos 1-4). Between 1631 and 1649 Duck presence is documented in Utrecht, Haarlem and Wijk bij Duurstede. Afterwards, and probably by 1656, he was living in The Hague. He was buried at the monastery of St Mary Magdalene in Utrecht.