1430-1479 Italian Antonello da Messina Galleries Antonello was born at Messina around 1429-1431, to Giovanni de Antonio Mazonus and Garita (Margherita). He was probably apprenticed in his native city and in Palermo. Around the year 1450, according to a 1524 letter of the Neapolitan humanist Pietro Summonte,[1] he was a pupil of the painter Niccol?? Colantonio at Naples, then one of the most active centres of Renaissance arts. Around 1455 he painted the so-called Sibiu Crucifixion, which was inspired by the Flemish Calvaries and is housed in the Muzeul de Art?? in Bucharest. Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alphonso of Aragon; Vasari's further narrative, that being struck by the new method, set out for The Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, their meeting is a tempting answer to both questions. But in fact, neither artist is known for certain to have been in Milan at the time. The following year, Antonello received his first commission as an independent artist, a banner for the Confraternit?? di San Michele dei Gerbini in Reggio Calabria. At this date, he was already married, and his son Jacobello had been born. In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amaltea, a town in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are backed by a greater attention in the volumetric proportions of the figures, probably coming from his knowledge of some works by Piero della Francesca. Also from around 1460 are the two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 his younger brother Giordano entered Antonello's workshop, signing a three-years' contract. Of that year is a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost. Between 1465-1470, Antonello finished a Portrait of a Man now at Cefal??. His portraits are noteworthy for his characteristic use of the three-quarter view, typical of the Flemish School, whereas almost all Italian painters adopted the medal profile pose. Antonello travelled to Venice around 1470, to see Giovanni Bellini's paintings. The Palermo Annunciation.In this year he executed his first signed and dated work, the Salvator Mundi. Back at Sicily, Antonello finished the St. Gregory's Polyptych. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study, one of his most famous paintings. The following year he began his regular sojourn in Venice, where he remained until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, according to the influence of Piero della Francesca and Bellini. His most famous pictures dating from this period include the Condottiero (Louvre, illustration), the San Cassiano Altarpiece and the St. Sebastian (see selected works for details). The San Cassiano Altarpiece was especially influential on Venetian painters, as it was one of the first of the large compositions in the sacra conversazione format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of the much larger original). Antonello returned briefly to Sicily in 1476, where he painted the famous Virgin Annunciate, now in the Palazzo Abatellis at Palermo. He died at Messina in 1479: his testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.  Related Paintings of Antonello da Messina :. | Condottiero | Saint Jerome in his Study | Portrait of a Man | Saint Jerome in His Study | Virgin Annunciate |
Related Artists:
Robert Delaunary
1885-1941 Orphism
Thomas Baines
(27 November 1820 ?C 8 May 1875) was an English artist and explorer of British colonial southern Africa and Australia. Born in King's Lynn, Norfolk, Baines was apprenticed to a coach painter at an early age. When he was 22 he left England for South Africa aboard the "Olivia" (captained by a family friend William Roome) and worked for a while in Cape Town as a scenic and portrait artist, and as official war artist during the so-called Eighth Frontier War for the British Army. In 1855 Baines joined Augustus Gregory??s 1855?C1857 Royal Geographical Society sponsored expedition across northern Australia as official artist and storekeeper. The expedition??s purpose was to explore the Victoria River district in the north-west and to evaluate the entire northern area of Australia in terms of its suitability for colonial settlement.
Jean-Baptiste Francois Desoria
Jean-Baptiste François Desoria (1758-1832). Both once enjoyed considerable renown among the elite of the Paris Enlightenment; today their names are barely known. Jean-Baptiste François Desoria (1758-1832), born in Paris, was, with the exception of some portraiture, primarily a history painter in the Neo-Classical style of his slightly older contemporary, Jacques-Louis David. Constance Pipelet, born in Nantes in 1767, was a surgeon's wife (later divorced) turned writer and librettist; she was noted primarily for her opera Sapho and her Epître aux femmes ( Epistle to the Women). Like her French predecessor of some four centuries earlier, Christine de Pizan, Constance Pipelet celebrated in writing the intellectual achievements of women.