b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.  Related Paintings of Andrea del Sarto :. | Opferung Isaaks | Two angle | The Madonna of the Harpies was Andrea major contribution to High Renaissance art. | Assumption of the Virgin | Portrait of the Artists Wife |
Related Artists:
SCHRIECK, Otto Marseus van
Dutch Baroque Era Painter, 1619-1678 Dutch painter. According to Houbraken, he travelled to Italy and stayed in Rome and Florence with the painters Matthias Withoos and Willem van Aelst, the latter his pupil at the time. Among his patrons were Ferdinando II de' Medici, Grand Duke of Tuscany (reg 1621-70). Van Hoogstraten claimed that he met van Schrieck in Rome as late as 1652. In Rome, van Schrieck was a member of the Schildersbent. About 1657 he returned with van Aelst to Amsterdam, where he had a small property and got married on 25 April 1664. An inventory of the contents of his house was made in July 1678, shortly after his death, in which more than 300 paintings are listed. Besides his own paintings, there were works by Cornelis van Poelenburch, Simon de Vlieger, Ludolf Bakhuizen, Jan Wijnants, Lucas van Leyden
Arnoldus Bloemers
born at Amsterdam in 1792, painted flowers, fruit, and animals. He was instructed by Antonie Piera, but principally imitated Van Huijsum. He died at the Hague in 1844. The Rotterdam Gallery has a flower-piece by him.
Fra Filippo Lippi
Italian 1406-1469 Fra Filippo Lippi Galleries Lippi was born in Florence to Tommaso, a butcher. Both his parents died when he was still a child. Mona Lapaccia, his aunt, took charge of the boy. In 1420 he was registered in the community of the Carmelite friars of the Carmine in Florence, where remained until 1432, taking the Carmelite vows in 1421 when he was sixteen. In his Lives of the Artists, Vasari says: "Instead of studying, he spent all his time scrawling pictures on his own books and those of others," The prior decided to give him the opportunity to learn painting. Eventually Fra Filippo quit the monastery, but it appears he was not released from his vows; in a letter dated 1439 he describes himself as the poorest friar of Florence, charged with the maintenance of six marriageable nieces. In 1452 he was appointed chaplain to the convent of S. Giovannino in Florence, and in 1457 rector (Rettore Commendatario) of S. Quirico in Legania, and made occasional, considerable profits; but his poverty seems chronic, his money being spent, according to one account, in frequent amours. Vasari relates some romantic adventures of Fra Filippo that modern biographers are not inclined to believe. Except through Vasari, nothing is known of his visits to Ancona and Naples, nor of his capture by Barbary pirates and enslavement in Barbary, where his skill in portrait-sketching helped to release him. From 1431 to 1437 his career is not accounted for. Portrait of a Man and Woman at a Casement , c. 1440 Metropolitan Museum of Art, New York City.In June 1456 Fra Filippo is recorded as living in Prato (near Florence) to paint frescoes in the choir of the cathedral. In 1458, while engaged in this work, he set about painting a picture for the convent chapel of S. Margherita of Prato, where he met Lucrezia Buti, the beautiful daughter of a Florentine, Francesco Buti; she was either a novice or a young lady placed under the nuns' guardianship. Lippi asked that she might be permitted to sit for the figure of the Madonna (or perhaps S. Margherita). Under that pretext, Lippi engaged in sexual relations with her, abducted her to his own house, and kept her there despite the nuns' efforts to reclaim her. The result was their son Filippino Lippi, who became a painter no less famous than his father. Such is Vasari's narrative, published less than a century after the alleged events; it is not refuted by saying, more than three centuries later, that perhaps Lippo had nothing to do with any such Lucrezia, and perhaps Lippino was his adopted son, or only an ordinary relative and scholar. The argument that two reputed portraits of Lucrezia in paintings by Lippo are not alike, one as a Madonna in a very fine picture in the Pitti gallery, and the other in the same character in a Nativity in the Louvre, comes to very little; and it is reduced to nothing when the disputant adds that the Louvre painting is probably not done by Lippi at all[clarification needed]. Besides, it appears more likely that not the Madonna in the Louvre but a S. Margaret in a picture now in the Gallery of Prato is the original portrait (according to tradition) of Lucrezia Buti. The frescoes in the choir of Prato cathedral, which depict the stories of St John the Baptist and St Stephen on the two main facing walls, are considered Fra Filippo's most important and monumental works, particularly the figure of Salome dancing, which has clear affinities with later works by Sandro Botticelli, his pupil, and Filippino Lippi, his son, as well as the scene showing the ceremonial mourning over Stephen's corpse. This latter is believed to contain a portrait of the painter, but there are various opinions as to which is the exact figure. On the end wall of the choir are S. Giovanni Gualberto and S. Alberto, while the vault has monumental representations of the four evangelists. The close of Lippi's life was spent at Spoleto, where he had been commissioned to paint, for the apse of the cathedral, scenes from the life of the Virgin. In the semidome of the apse is Christ crowning the Madonna, with angels, sibyls and prophets. This series, which is not wholly equal to the one at Prato, was completed by Fra Diamante after Lippi's death. That Lippi died in Spoleto, on or about the 8th of October 1469, is a fact; the mode of his death is a matter of dispute. It has been said that the pope granted Lippi a dispensation for marrying Lucrezia, but before the permission arrived, Lippi had been poisoned by the indignant relatives of either Lucrezia herself or some lady who had replaced her in the inconstant painter's affections. This is now generally regarded as a fable, and indeed, a vendetta upon a man aged sixty-three for a seduction committed at the age of fifty-two seems hardly plausible. Fra Filippo lies buried in Spoleto, with a monument erected to him by Lorenzo the Magnificent; he had always been zealously patronized by the Medici family, beginning with Cosimo de Medici. Francesco di Pesello (called Pesellino) and Sandro Botticelli were among his most distinguished pupils. The altarpiece Lippi painted in 1441 for the nuns of S. Ambrogio is now a prominent attraction in the Academy of Florence, and was celebrated in Browning's well-known poem. It represents the coronation of the Virgin among angels and saints, including many Bernardine monks. One of these, placed to the right, is a half-length portrait of Lippo, pointed out by the inscription perfecit opus upon an angel's scroll. The price paid for this work in 1447 was 1200 Florentine lire, which seems surprisingly large. Selfportait with pupilsFor Germiniano Inghirami of Prato he painted the Death of St. Bernard. His principal altarpiece in this city is a Nativity in the refectory of S. Domenico ?? the Infant on the ground adored by the Virgin and Joseph, between Saints George and Dominic, in a rocky landscape, with the shepherds playing and six angels in the sky. In the Uffizi is a fine Virgin adoring the infant Christ, who is held by two angels; in the National Gallery, London, a Vision of St Bernard. The picture of the Virgin and Infant with an Angel, in this same gallery, also ascribed to Lippi, is disputable. Filippo Lippi died in 1469 while working on the frescos Storie della Vergine (Scenes of the life of the Virgin Mary, 1467 - 1469) in the apse of the Spoleto Cathedral. The Frescos show the Annunciation, the Funeral, the Adoration of the Child and the Coronation of the Virgin. A group of bystanders at the Funeral includes a self-portrait of Lippi together with his son Fillipino and his helpers Fra Diamante and Pier Matteo d'Amelia. Lippi was buried on the right side of the transept. The frescos were completed by Filippino Lippi, who also designed the funerary monument for his father. Although it was commissioned by Lorenzo de Medici it was not actually made until 1490 by an unknown Florentine sculptor.