Domenico Ghirlandaio (1449 - 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as 'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities. He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494. Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname Il Ghirlandaio (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic.  Related Paintings of domenico chirlandaio :. | Frederick Sodring | St. John the Evangelist with the Poisoned Cup a | black square | artur hazelius tigger pengxr till nordiska | Muchacho con turbante y un ramillete de flores |
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Francis Cotes
(20 May 1726 - 16 July 1770) was an English painter, one of the pioneers of English pastel painting, and a founder member of the Royal Academy in 1768. He was born in London, the eldest son of Robert Cotes, an apothecary (Francis's younger brother Samuel Cotes (1734 - 1818) also became an artist, specialising in miniatures). Cotes trained with portrait painter George Knapton (1698 - 1778) before setting up his own business in his father's business premises in London's Cork Streetelearning, incidentally, much about chemistry to inform his making of pastels. An admirer of the pastel drawings of Rosalba Carriera, Cotes concentrated on works in pastel and crayon (some of which became well-known as engravings). After pushing crayon to its limit as a mediumealthough he was never to abandon it entirelye - otes turned to oil painting as a means of developing his style in larger-scale works. In his most successful paintings, particularly those of the early 1760s, the oil paint is thinly applied, in imitation of his pastel technique, and imbued with charm, inviting comparisons with Allan Ramsay (1713 - 1784) and Sir Joshua Reynolds. They have clarity and warmth and possess a remarkable attention to costume. In 1763, he bought a large house (later occupied by George Romney) in Cavendish Square. One of the most fashionable portrait painters of his day, Cotes helped found the Society of Artists and became its director in 1765. At the peak of his powers, Cotes was invited to become one of the first members of the Royal Academy, but died just two years later, aged 44, in Richmond. He also taught pastel skills to John Russell, and his skills were described in book The Elements of Painting with Crayon.
DUSART, Cornelis
Dutch Baroque Era Painter, 1660-1704 Dutch painter, draughtsman and printmaker. He was the son of the organist at St Bavo in Haarlem and one of the last pupils of Adriaen van Ostade. He became a member of the Haarlem Guild of St Luke on 10 January 1679 and served as its dean in 1692. Dated pictures by Dusart have survived from almost every year between 1679 and 1702. Two of his earliest pictures of peasants relied heavily on compositions by van Ostade: Mother and Child (1679; Dresden, Gemeldegal. Alte Meister) and Woman Selling Milk (1679; sold Amsterdam, Muller, 16 Oct 1928, lot 9; the original drawing by van Ostade is in Paris
Giuseppe Maria Crespi
1665-1747 Italian Giuseppe Maria Crespi Locations 1747). Painter, draughtsman and printmaker. His religious and mythological works are distinguished by a free brushstroke and a painterly manner. He also painted spirited genre scenes, which by their quality, content and quantity distinguish him as one of the first Italian painters of high standing to devote serious attention to the depiction of contemporary life. Such paintings as Woman Laundering (1700-05; St Petersburg, Hermitage) or Woman Washing Dishes (1720-25; Florence, Uffizi) offer straightforward glimpses of domestic chores in images that are startlingly novel for the period and look forward to the art of Jean-Simeon Chardin, Jean-Francois Millet and Honore Daumier