Italian Early Renaissance Painter, 1445-1510 Italian painter and draughtsman. In his lifetime he was one of the most esteemed painters in Italy, enjoying the patronage of the leading families of Florence, in particular the Medici and their banking clients. He was summoned to take part in the decoration of the Sistine Chapel in Rome, was highly commended by diplomatic agents to Ludovico Sforza in Milan and Isabella d Este in Mantua and also received enthusiastic praise from the famous mathematician Luca Pacioli and the humanist poet Ugolino Verino. By the time of his death, however, Botticelli s reputation was already waning. He was overshadowed first by the advent of what Vasari called the maniera devota, a new style by Perugino, Francesco Francia and the young Raphael, whose new and humanly affective sentiment, infused atmospheric effects and sweet colourism took Italy by storm; he was then eclipsed with the establishment immediately afterwards of the High Renaissance style, which Vasari called the modern manner, in the paintings of Michelangelo and the mature works of Raphael in the Vatican. From that time his name virtually disappeared until the reassessment of his reputation that gathered momentum in the 1890s   Related Paintings of Sandro Botticelli :. | Our Lady of Angels with the two sub | The Virgin and child with John the Baptist (mk05) | The Story of Lucretia | Ferney body | The Last Communion of St Jerome |
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Simone Pignoni
Simone Pignoni (April 17, 1611 - December 16, 1698) was an Italian painter of the Baroque period. He apprenticed with Fabrizio Boschi, then with the more academic and puritanical Domenico Passignano, and finally with Francesco Furini. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous imitator of (Furini's) licentious inventions. A more complete biography was recorded by his pupil Giovanni Camillo Sagrestani. Described as endowed with a bizarre and amenable intelligence, Pignoni apparently had a late-life conversion to more pious painting. There is one episode recalled that during a serious illness because in his life he had focused on studying about female forms, and (now) having resigned himself to the impending infinity, his spiritual father urged him to purge those errors with the flame, and once guided by a good disposition, he suddenly was cured by the Lord. It must be noted that Baldinucci's biography of Furini, also recorded a similar, near-death renunciation of his art of the naked figure. Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste. A St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini. A Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo.
Cordelia Creigh Wilson
(28 November 1873, Georgetown, Colorado - 7 June 1953, Seattle, Washington) was a painter noted for her landscapes of New Mexico and the American Southwest. Cordelia "Cordie" Creigh was born in Clear Creek County, Colorado. Her father died in her early childhood, and she was raised by her mother, Emma Creigh who shuttled the family between Winfield, Kansas and Colorado. She married Willard Wilkinson in Boulder, Colorado in 1897 and gave birth to her only child, Louise, in Hayden the next year, however, the couple divorced shortly after the turn of the century. Cordelia then began to seriously develop her skills as an artist motivated by latest trends in American realism led by Robert Henri. Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly. She started making road trips to New Mexico and became friends with painters in the Taos Society of Artists and the Santa Fe art colony. Her numerous expressive oil sketches and en plein air canvases of adobe dwellings and rugged landscapes caught the attention of art dealers. Before the end of the First World War, Cordelia married John H. Wilson and took his surname for her entire professional career. They settled on Tremont Street in Denver, just around the corner from the J. Gibson Smith Gallery which displayed and sold her works. Many of her paintings had frames she hand-carved in rustic Arts and Crafts style and gilded with sheets of gold leaf. In 1917, Cordelia Wilson was honored by having two paintings selected for the inaugural exhibition of the new New Mexico Museum of Art in Santa Fe. The show featured easel works by George Bellows, Robert Henri, F. Martin Hennings, and Leon Kroll, who were working in the Southwest at that time, along with the "Taos Six" (Oscar Berninghaus, Ernest Blumenschein, Irving Couse, Herbert Dunton, Bert Geer Phillips, and Joseph Henry Sharp) and other members of the Taos Society. One of her paintings exhibited in the show, A Mexican Home, was reproduced in the January CFebruary 1918 issue of the journal Art and Archaeology (published by the Archaeological Institute of America) that featured a cover article about the museum's opening. Among Cordelia Wilson's largest landscapes is a 50" x 70" canvas, created for World War I military training. It was exhibited at the School of American Research of Santa Fe in 1917 with other large-scale so-called "Range Finder" paintings by Blumenschein, Berninghaus, Phillips, Gustave Baumann, Walter Ufer, Leon Gaspard, and others. They had been commissioned by the U.S. Army based on a proposal by the Salmagundi Club of New York, whose members wanted to make a special contribution to America's war effort. When the show closed, the works on display were shipped to Camp Funston at Fort Riley, Kansas and Camp Cody at Deming, New Mexico. The paintings were used for indoor instruction in range finding, topographical quizzes, and map drawing at Army camps. John Wilson, her husband, contracted tuberculosis in about 1921. The couple moved to the Seattle for his treatment at a sanitorium, where he passed away the following year. In 1923, Cordelia married for a third time to John N. Fahnestock, but this marriage ended in divorce in 1928. Cordelia continued to reside in Pacific Northwest producing still lifes, florals, and scenes of the Puget Sound region, although she periodically traveled, worked, and displayed her art in the Southwest.
MOEYAERT, Claes Cornelisz.
Dutch painter (b. 1590/91, Durgerdam, d. 1655, Durgerdam) Dutch painter, etcher and draughtsman. He was the son of an aristocratic Catholic Amsterdam merchant and moved to the city with his family in 1605. He was the most prolific of the history painters now called the PRE-REMBRANDTISTS, whose representations of biblical and mythological narratives, as well as of more recent secular history, give particular emphasis to dramatic and psychological effects. After working initially as a draughtsman and etcher, Moeyaert soon made his name as a painter. Landscapes with animals feature prominently in both his etchings and his paintings. At first he followed the lead of Adam Elsheimer, then of fellow Pre-Rembrandtists Pieter Lastman and Jan and Jacob Pynas, eventually, in the mid-1630s,