1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.   Related Paintings of Simone Martini :. | Madonna and Child aaa | Equestrian portrait of Guidoriccio da Fogliano | The Road to Calvary (mk08) | Orsini Diptych | Sienese School |
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Sir Peter Lely
1618-1680 Dutch (Resident In UK) Sir Peter Lely Art Locations Sir Peter Lely (14 September 1618 - 30 November 1680) was a painter of Dutch origin. He was the most popular portrait artist in England from soon after he arrived in the country in the 1640s to his death. He also owned a major collection of art, especially drawings by other artists. Lely was born Pieter van der Faes to Dutch parents in Soest in Westphalia,[1] where his father was an officer serving in the armed forces of the Elector of Brandenburg. Lely studied painting in Haarlem, where he may have been apprenticed to Pieter de Grebber. He become a master of the Guild of Saint Luke in Haarlem in 1637. He is reputed to have adopted the surname "Lely" (also occasionally spelled Lilly) from a heraldic lily on the gable of the house where his father was born in The Hague. He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape, show influences from Anthony van Dyck and the Dutch baroque. Lely's portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I, but his talent ensured that his career was uninterrupted by Charles's execution, and he served Oliver Cromwell, whom he painted "warts and all", and Richard Cromwell. In the years around 1650 the poet Sir Richard Lovelace wrote two poems about Lely ?? Peinture and "See what a clouded majesty...." Two ladies from the Lake family, 1650. Held by the Tate Gallery.[1]After the English Restoration in 1660, Lely was appointed as Charles II's Principal Painter in Ordinary in 1661, with a stipend of £200 per year, as Van Dyck had enjoyed in the previous Stuart reign. Lely became a naturalised British subject in 1662. Demand was high, and Lely and his school were prolific. After Lely painted a sitter's head, Lely's pupils would often complete the portrait in one of a series of numbered poses. As a result Lely is the first English painter who has left "an enormous mass of work." Among his most famous paintings are a series of 10 portraits of ladies from the Royal court, known as the "Windsor Beauties", formerly at Windsor Castle but now at Hampton Court Palace; a similar series for Althorp; a series of 12 of the admirals and captains who fought in the Second Anglo-Dutch War, known as the "Flagmen of Lowestoft", now mostly owned by the National Maritime Museum in Greenwich; and his Susannah and the Elders at Burghley House. His most famous non-portrait work is probably Nymphs by a fountain in Dulwich Picture Gallery. Lely played a significant role in introducing the mezzotint to Britain, as he realized its possibilities for publicising his portraits. He encouraged Dutch mezzotinters to come to Britain to copy his work, laying the foundations for the English mezzotint tradition. Lely was knighted in 1680. He died soon afterwards at his easel in Covent Garden, while painting a portrait of the Duchess of Somerset. He was buried at St Paul's Church, Covent Garden. He collected Old Masters during his life, with examples by Veronese, Titian, Claude Lorrain and Rubens, and a fabulous collection of drawings. His collection was broken up and sold after his death, raising the immense sum of £26,000. Some items in it which had been acquired by Lely from the Commonwealth dispersal of Charles I's art collections, such as the Lely Venus, were re-acquired by the royal collection.
St Edmundsbury Borough Council
painted Rose Mead; Barbara Stone in1940
Louis Anquetin
1861-1932,French painter. He came to Paris in 1882 and studied art at the Ateliers of Bonnat and Cormon, where he was a contemporary and friend of Henri de Toulouse-Lautrec, Emile Bernard and Vincent van Gogh. His early work shows the influence of Impressionism and of Edgar Degas. In 1887 Anquetin and Bernard devised an innovative method of painting using strong black contour lines and flat areas of colour; Anquetin aroused much comment when he showed his new paintings, including the striking Avenue de Clichy: Five O'Clock in the Evening (1887; Hartford, CT, Wadsworth Atheneum) at the exhibition of Les XX in Brussels and at the Salon des Independants in Paris in 1888. The new style, dubbed Cloisonnisme by the critic Edouard Dujardin (1861-1949), resulted from a study of stained glass, Japanese prints and other so-called 'primitive' sources; it was close to the Synthetist experiments of Paul Gauguin and was adopted briefly by van Gogh during his Arles period. Anquetin's works were shown alongside Gauguin's and Bernard's at the Caf? Volpini exhibition in 1889,