Antonello da Messina
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 :. | St Sebasian (mk08) | St Jerome in his Study | Saint Jerome in his Study | Virgin of the Annunciation | The Dead Christ | Related Artists: Master of san FrancescoTuscany ca.1350 Master of Avila15 Master of Avila Nativity 1474-76 Oil on wood Museo Lezaro Galdiano, Madrid This is the finest work of the master, it forms part of a triptych as the central panel. The left panel was the Annunciation to the Shepherds while the right panel represented the Annunciation to the Magi. The composition follows the example of Gallego's paintings and the use of the cool colors Raphaelle Peale1774-1825
Peale was born in Philadelphia as the son and first child of Rachel and Charles Willson Peale, a famous portraitist.
Lived in Philadelphia, on a home at the corner of 3rd and Lombard.
Married Martha (Patty) McGlathery at the age of 20.
First first professional exhibition was in 1795 at the age of 21.
Artist. Born Raphaelle Peale in Annapolis, Maryland on February 17, 1774, the fifth child, though eldest surviving, of Charles Willson Peale and his first wife Rachel Brewer. As with all the Peale children, Raphael was trained by his father as an artist. Early in his career, the pair collaborated on portraits. On some commissions, Raphael painted miniatures while his brother, Rembrandt, painted full size portraits.
In 1792, he made a trip to South America in order to collect specimens for the Peale's Museum. In 1797, with his brother Rembrandt, he traveled to Charleston, South Carolina, where they attempted to establish another museum. The plan fell through, however, and Raphael returned to painting miniatures.
He married Martha McGlathery at about that same time, and with her had eight children. For about two years beginning in 1803, Raphael toured Virginia with the ??physiognotrace,' a profile making machine, with which he was briefly successful. In August 1808, he was hospitalized with delirium tremens, exacerbated by severe gout. By 1813, he was unable to walk without crutches. After the downturn in his health, in an era when most artists considered still life a subject worthy only of amateurs, he devoted himself almost exclusively to still life painting. It is for these works he is best known. Raphael Peale is today considered the founder of the American Still Life school. His work was on frequent exhibit at the Pennsylvania Academy of the Fine Arts between 1814 and 1818. After reportedly indulging in a night of heavy drinking, his health destroyed, Raphael died on March 3, 1825 at age 51 at his home in Philadelphia.
Peale's tightly grouped still lifes are often permeated with a delicate melancholy akin to that which characterized the life of the artist; he was an alcoholic who suffered the effects of arsenic and mercury poisoning caused by his work as a taxidermist in his father's museum. His spare, essential style may have been influenced by the Spanish still lifes he studied in Mexico and by the works of Juan Sanchez Cotan, exhibited at the Pennsylvania Academy in 1818.
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