Italian Mannerist Painter, 1503-1572 Agnolo di Cosimo (November 17, 1503 ?C November 23,1572), usually known as Il Bronzino, or Agnolo Bronzino (mistaken attempts also have been made in the past to assert his name was Agnolo Tori and even Angelo (Agnolo) Allori), was an Italian Mannerist painter from Florence. The origin of his nickname, Bronzino is unknown, but could derive from his dark complexion, or from that he gave many of his portrait subjects. It has been claimed by some that he had dark skin as a symptom of Addison disease, a condition which affects the adrenal glands and often causes excessive pigmentation of the skin.  Related Paintings of Agnolo Bronzino :. | Holy Family | Portrait of Giovanni de- Medici | Portrait of Maria de- Medici | Holy Family | Allegorie des Glecks |
Related Artists:
Granville Redmond
1871-1935 Granville attended the Berkeley School for the Deaf (later the California School for the Deaf) from 1879 to 1890 where his artistic talents were recognized and encouraged. There his teacher Theophilus d'Estrella taught him painting, drawing and pantomime. When he graduated from CSD, Redmond enrolled at another CSD: the California School of Design in San Francisco, where he worked for three years with teachers such as Arthur Matthews and Amedee Joullion. He famously won the W. E. Brown Medal of Excellence. He associated with many other artists, including Gottardo Piazzoni and Giuseppe Cadenasso. Piazzoni learned American Sign Language and he and Redmond were lifelong friends. They lived together in Parkfield, California, and Tiburon. 1893 saw Redmond win a scholarship from California School of the Deaf and from the School of Design, which made it possible for him to study in Paris at the Academie Julian under teachers Jean-Paul Laurens and Benjamin Constant. At the Academie Julian, he roomed with sculptor Douglas Tilden, famous deaf sculptor and another graduate of the California School for the Deaf. In 1895 in Paris his painting Matin d'Hiver, was accepted for the Paris Salon.
Jost Amman
(June 13, 1539, Zerich - March 17, 1591, Nuremberg, Bavaria) was a Swiss artist, celebrated chiefly for his woodcuts, done mainly for book illustrations. Amman was born in Zurich, the son of a professor of Classics and Logic. He was himself well-educated. Little of his personal history is known beyond the fact that he moved to Nuremberg in 1560, where he continued to reside until his death in March 1591. He worked initially with Virgil Solis, then a leading producer of book illustrations. His productiveness was very remarkable, as may be gathered from the statement of one of his pupils, that the drawings he made during a period of four years would have filled a hay wagon. A large number of his original drawings are in the Berlin print room. About 1,500 prints are attributed to him. He was one of the last major producers of woodcuts for books, as during his career engravings were gradually taking over that role. Although like most artists for woodcut he normally let a specialist formschneider cut the block to his drawing, he sometimes included both a cutter's knife and a quill pen in his signature on prints, suggesting he sometimes cut his own blocks. A series of engravings by Amman of the kings of France, with short biographies, appeared in Frankfurt in 1576. He also executed many of the woodcut illustrations for the Bible published at Frankfurt by Sigismund Feierabend. Another serial work, the Panoplia Omnium Liberalium Mechanicarum et Seden-tariarum Artium Genera Continens, containing 115 plates, is of great value. Amman's drawing is correct and spirited, and his delineation of the details of costume is minute and accurate. Paintings in oil and on glass are attributed to him, but none have been identified.
Carlo Maratta
(13 May 1625 - 15 December 1713) was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta.