British Pre-Raphaelite Painter, 1833-1898 English painter and decorative artist. He was the leading figure in the second phase of the Pre-Raphaelite movement. His paintings of subjects from medieval legend and Classical mythology and his designs for stained glass, tapestry and many other media played an important part in the Aesthetic Movement and the history of international Symbolism.  Related Paintings of Sir Edward Coley Burne-Jones :. | King Cophetua and the Beggar (nn03) | The Wheel of Fortune | The Beguiling of Merlin | King Cophetu and the Beggar Maid (mk09) | The Baleful Head (mk19) |
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Ignazio Danti
Italian,1536-1586 was an Italian priest, mathematician, astronomer, and cosmographer. Danti was born in Perugia to a family rich in artists and scientists. As a boy he learned the rudiments of painting and architecture from his father Giulio, an architect and engineer who studied under Antonio da Sangallo, and his aunt Teodora, who was said to have studied under the painter Perugino and also wrote a commentary on Euclid. His older brother Vincenzo Danti would become one of the leading court sculptors of late-sixteenth-century Florence, while his younger brother Girolamo (1547-1580) would become a local Perugian painter of little fame. Danti entered the Dominican Order on March 7, 1555, changing his baptismal name from Pellegrino to Ignazio. After completing his studies in philosophy and theology he gave some time to preaching, but soon devoted himself zealously to mathematics, astronomy, and geography. In 1562, he requested a transfer from the Dominican compound in Perugia to the monastery of San Marco in Florence. Soon after, he found work on the side tutoring the children of wealthy Florentines in mathematics and science. In September 1563, he was invited by Cosimo I, Duke of Tuscany to participate in his great cosmographical project, the Guardaroba in the Palazzo Vecchio. Over the next dozen years, Danti would paint 30 maps of regions of the world (based largely upon published prints by Giacomo Gastaldi, Abraham Ortelius, Gerardus Mercator, and others) upon the cabinet doors of the Guardaroba. He would also work on many other significant scientific and cosmographic projects in Florence, including the large terrestrial globe of the Guardaroba (1564-1568), and a number of brass scientific instruments (such as an astrolabe) today in the Museo di Storia della Scienza in Florence. Between 1567 and 1569, Pius V, who belonged to the Dominicans, is said to have commissioned Danti to furnish plans for the construction of a Dominican church and convent at Bosco Marengo in Piedmont; Danti acted mainly as an advisor. During his stay in Florence, Danti taught mathematics and published over a dozen scientific treatises, mostly commentaries on ancient and medieval astronomy and mathematics or explanations of how to use scientific instruments. For much of his time in Florence, Danti resided at the convent of Santa Maria Novella, and designed the quadrant (on the right) and the armillary sphere (on the left) that appear on the end blind arches of the lower facade of the church in 1572 and 1574, respectively. He also designed a large-scale gnomon for the church which would allow a thin beam of light to enter the church at noon each day through a hole just beneath the facade's rose window, although it probably was not completed by the time Danti left Florence. There were also discussions between the Duke and Danti about building a canal to place Florence in communication with both the Mediterranean and the Adriatic. However, this grandiose plan never got underway before Cosimo's death in (1574). The following year Cosimo's son, Grand Duke Francesco I de' Medici, forced Danti to leave Florence (in late September 1575) on an uncertain morals charge. It is not known precisely why Francesco exiled Danti, but it should be noted that the Dominican had no trouble finding work or patrons anywhere else in Italy, although he never returned to Florence before his death. After leaving Florence, Danti became professor of mathematics at the University of Bologna. While occupying this chair he built a massive gnomon in the Bolognese church of San Petronio, the meridian line of which is still visible in the church's pavement. He also spent some time in Perugia, at the invitation of the governor, where he prepared maps of the Perugian republic. On account of his mathematical attainments, Pope Gregory XIII invited him to Rome, appointed him pontifical mathematician and made him a member of the commission for the reform of the calendar. He also placed him in charge of the painters whom the Pope had summoned to the Vatican to continue the decoration of the palace, most notably to make a number of maps of the regions of modern Italy in the newly constructed Gallery of Maps along the Cortile del Belvedere. This remarkable project, begun in early 1580 and completed about 18 months later, maps the entirety of the Italian peninsula in 40 large-scale frescoes, each depicting a region as well as a perspective view of its most prominent city. When the pontiff commissioned the architect Domenico Fontana to repair the Claudian harbour it was Danti who furnished the necessary plans. While at Rome Danti published a translation of a portion of Euclid with annotations and wrote a life of the architect Jacopo Barozzi da Vignola, preparing also notes for the latter's work on perspective. In recognition of his labours Gregory, in 1583, made him Bishop of Alatri in the Campagna. Danti showed himself a zealous pastor in his new office.
Pierre-Henri de Valenciennes
(December 6, 1750 - February 16, 1819) was a French painter. Valenciennes worked in Rome from 1778 to 1782, where he made a number of landscape studies directly from nature, sometimes painting the same set of trees or house at different times of day.He theorized on this idea in Advice to a Student on Painting, Particularly on Landscape (1800), developing a concept of a "landscape portrait" in which the artist paints a landscape directly while looking upon it, taking care to capture its particular details.Although he spoke of this as a type of painting mainly of interest to "amateurs", as distinguished from the higher art of the academies, he found it of great interest, and of his own works the surviving landscape portraits have been the most noted by later commentators. He in particular urged artists to capture the distinctive details of a scene's architecture, dress, agriculture, and so on, in order to give the landscape a sense of belonging to a specific place; in this he probably influenced other French artists active in Italy who took an anthropological approach to painting rural areas and customs, such as Hubert Robert, Pierre-Athanase Chauvin and Achille-Etna Michallon.
Corrado Giaquinto
1703-1766 Italian Corrado Giaquinto Galleries He was born in Molfetta. As a boy he apprenticed with a modest local painter Saverio Porta, (c1667-1725), escaping the religious career his parents had intended for him. By October 1724, he left Molfetta, and along with his contemporaries Francesco de Mura (1696-1784) and Giuseppe Bonito (1707-1789), he trained from 1719-23 in the prolific Neapolitan studio of Francesco Solimena, either with Solimena or his pupil, Nicola Maria Rossi. Throughout his life, Giaquinto was a peripatetic painter, with long sojourns in Naples, Rome (between 1723-53), Turin (1733 and 1735-9), and Madrid (1753-1761). In 1723, he moved to Rome to work in the studio of Sebastiano Conca. He painted in San Lorenzo in Damaso, San Giovanni Calibita, and the ceiling at Santa Croce in Gerusalemme. In March 1727, with Giuseppe Rossi as an assistant, Giaquinto opened an independent studio near the Ponte Sisto, in the parish of Saint Giovanni of the Malva in Rome. In 1734, he married Caterina Silvestri Agate. The first documented work by his hand is Christ crucified with the Madonna, Saint John Evangelist, and Magdalene commissioned in 1730 by king John V of Portugal for the cathedral of the Mafra. In 1731, he received a prestigious commission, to execute frescoes in the church of San Nicola dei Lorenesi: Saint Nicholas water gush from cliff, three theologic and cardinal Virtues, and in the cupola Paradise. The latest restoration confirms Giaquinto stylistic independence from Solimena, and reveals his stylistic dependence on Luca Giordano.