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Related Artists:
Procaccini, Andrea
Italian, 1671-1734 Italian painter, draughtsman and architect. A pupil of Carlo Maratti, he is first documented in 1702, among the restorers of Raphael's fresco decorations (1511-14) in the Vatican. His Tarquinius and Lucretia (c. 1705; Holkham Hall, Norfolk) has cold colours and unnatural gestures that recall Guido Reni. Appointed by Pope Clement XI, between 1710 and 1717 Procaccini supervised the tapestry factory in S Michele a Ripa: the Purification of the Virgin (Rome, Vatican, Consistory Hall) is the only extant tapestry made from a cartoon (untraced) by Maratti and an oil painting (untraced) by Procaccini. The Baptism of Cornelius Centurion (1711; Urbino, S Francesco) for the Baptism Chapel in St Peter's, Rome, was previously attributed to Maratti or Giuseppe Bartolomeo Chiari, but Procaccini apparently based it on sketches supplied by Maratti, who also supervised and revised the work before it was displayed.
Henri Evenepoel
Belgian, 1872-1899 was a Belgian artist whose most important works are associated with Fauvism. He first studied art in Brussels at the Acad??mie des Beaux-Arts between 1889 and 1890, and entered Paris's Ecole des Beaux-Arts in 1892. Evenepoel entered the atelier of Gustave Moreau in 1893, which put him in contact with Henri Matisse and Georges Rouault. The artist debuted a portrait of his cousin (Louise in Mourning) at the 1894 Salon des Artistes Français. He showed four portraits at the Salon du Champ-de-Mars in 1895 and continued to exhibit there until his death. His first solo exhibition came at the Brussels Cercle Artistique (December 1897 C January 1898). Family and friends were the artist's preferred subjects; his full-length portraits, often against a neutral background, show the influence of Edouard Manet and James Abbott McNeill Whistler. His Parisian scenes were influenced by Henri de Toulouse-Lautrec and Jean-Louis Forain.
CATENA, Vincenzo
Italian Painter, ca.1480-1531 His paintings represent the perpetuation of the style of Giovanni Bellini into the second quarter of the 16th century. He made few concessions to the modern style that was being introduced to Venice by Titian, Palma Vecchio, Pordenone and others in the same period. This archaicizing tendency was shared by several minor Bellinesque painters of the period, including Pietro degli Ingannati, Pietro Duia, Francesco Bissolo, Vittore Belliniano and the Master of the Incredulity of St Thomas. Catena, together with Marco Basaiti, with whose works Catena's are sometimes confused, can be considered the most accomplished of these. Despite the fact that he counted several humanists in his circle, the extant repertory of his subjects is limited to religious themes, mainly Marian and including three altarpieces, and to male portraits.