1485-1547 Italian Sebastiano del Piombo Galleries Italian painter. He was one of the most important artists in Italy in the first half of the 16th century, active in Venice and Rome. His early, Venetian, paintings are reminiscent of Giovanni Bellini and to a lesser extent of Giorgione. With his move to Rome in 1511 he came under the influence of Raphael and then of Michelangelo, who supplied him with drawings. After the death of Raphael (1520) he was the leading painter working in Rome and was particularly noted as a portrait painter. In his finest works, such as the Piete (1513; Viterbo, Mus. Civ.) and the Flagellation (1516-24; Rome, S Pietro in Montorio), there is a remarkable fusion of the Venetian use of colour and the grand manner of central Italian classicism.  Related Paintings of Sebastiano del Piombo :. | Portrait of Pope Clement Vii | La Sainte Famille avec sainte Catherine | Recreation by our Gallery | The Martydom of St.Agatha | The Visitation (mk05) |
Related Artists:
Helel Allingham,RWS
1848-1926 was a well-known watercolour painter and illustrator of the Victorian era. Helen Mary Elizabeth Paterson was born in Swadlincote in Derbyshire,[1] England. Her sister and her father, a doctor, died of diphtheria in 1862, and the rest of the family went to live in Birmingham. In 1867 she went to study art at the "Female School of Art", a section of what became the Royal College of Art in London, and became an illustrator of children's books. She was a great friend of Kate Greenaway. On 22 August 1874, she married William Allingham, who was almost twice her age. At the time, she was employed in illustrating some of the novels of Thomas Hardy, and they were attracted to one another when they met. Helen Allingham illustrated several books, including Six to sixteen: a story for girls (1876), Happy England (1903) and The homes of Tennyson (1905), written with her brother Arthur Paterson. After her marriage to Allingham, she became a watercolour painter, and she was the first woman to become a full member of the Royal Watercolour Society.
COLLANTES, Francisco
Spanish Baroque Era Painter, 1599-1656 Spanish painter. He was probably a pupil of Vicente Carducho, but there is nothing to support this idea. His evident familiarity with contemporary Italian art indicates that he visited Rome and Naples, and this might explain the absence of documentation on him in Spain. Collantes enjoyed considerable prestige, and his paintings were acquired in 1634 for the decoration of the Buen Retiro Palace in Madrid; some of them may have been specially painted for this setting. His name appears frequently in the inventories of collectors in Madrid throughout the 17th century. It is impossible to date Collantes's undated paintings with any accuracy. However, his work shows two very clear and different lines of development. His canvases of large, intensely naturalistic figures, with tenebrist lighting effects , are close in style to those of Jusepe Ribera. In them the intense, energetic figures are sometimes set against landscape backgrounds, for example in St Humphrey (1645-50; Madrid, Prado) and St John the Baptist , but, still following Ribera, the naturalistic elements are emphasized. He also specialized in landscapes and in biblical or mythological subjects, compositions with minute figures set against wide landscapes or architecture with strong light effects. These are the works for which he is best known and which are the most important, since he was one of the few landscape painters in Spain in the 17th century.
Rupert Bunny
Australian Painter, 1864-1947 Australian painter. After studying in Melbourne under G. F. Folingsby (d 1891), he moved to Europe in 1884 and studied in London under P. H. Calderon and in Paris under Jean-Paul Laurens, who introduced him to the Societe des Artistes Francais in 1887. His early works consisted mainly of mythological subjects and graceful images of pleasant Symbolist landscapes; he defected to the New Salon in 1901 and produced some less decorative works, including images of biblical subjects. A long series of paintings of women followed, but his style again changed abruptly when in 1913 he exhibited at the Salon d'Automne a series of images of dancers, The Rite, that shows the influence of Primitivism. Although not attracted to the avant-garde, Bunny showed an adventurous spirit in his unusual sense of colour, sense of rhythm and witty use of his subjects' poses. He continued to live in Paris and London until 1933.