(7 March 1481 - 6 January 1536) was an Italian architect and painter, born in a small town near Siena and died in Rome. He worked for many years, beginning in 1520, under Bramante, Raphael, and later Sangallo during the erection of the new St. Peter's. He returned to his native Siena after the Sack of Rome (1527) where he was employed as architect to the Republic. For the Sienese he built new fortifications for the city and designed (though did not build) a remarkable dam on the Bruna River near Giuncarico. He seems to have moved back to Rome by 1535. He was a painter of frescoes in the Cappella San Giovanni in the Duomo of Siena. His son Giovanni Sallustio was also an architect.   Related Paintings of Baldassarre Peruzzi :. | Self-Portrait | Interior of the Cathedral at Antwerp | Saint Roch Cemetery Chapel and Campo Santo | Portrait of Beatrice Hastings before a door | fisker lars gaihede |
Related Artists:
Percy Gray
1869-1952 was an American painter. Gray was born into a San Francisco family endowed with a broad literary and artistic background. He studied under Arthur Frank Mathews at the San Francisco School of Design and later under William Merritt Chase. While he had some early Impressionistic tendencies, his primary expression was under the Tonalism Mathews had brought back from Paris. He is known for his extraction of beauty from the Northern California landscape. Alexander Gray, Percy's father, was born in England, but found his way to a successful insurance business in San Francisco. As the byproduct of a childhood illness, Percy realized he had talents in art. From 1886 to 1888 he attended the California School of Design, then led by Mathews. From there he went on to become a newspaper illustrator, obtaining a job with the New York Journal. In New York he also studied at the Art Students League. He was dispatched from New York to cover the 1906 San Francisco earthquake, but decided to remain in his native city where he would then take up his painting career. Gray's first pieces, headland seascapes, were exhibited in 1907; soon thereafter he addressed in watercolor eucalyptus groves and fields of California wildflowers. These subjects would become signatures of his work. Originally Gray's works were oils; however, he eventually developed an allergy to oil paints, and therefore switched to using watercolors as his primary medium. [1] From early on the critics marvelled at his ability to infuse realistic depictions of nature with a mystical and poetic quality. He was clearly applying the precepts of his mentor William Merritt Chase in exaggeration of light and color. From 1912 to 1923 Gray lived in Burlingame, California about twenty miles south of San Francisco, while keeping his studio in the city itself. At the 1915 Panama-Pacific International Exposition he won a bronze medal for his watercolor Out of the Desert, Oregon. Having been a bachelor for 53 years, Gray surprised his friends by marrying. He and his bride moved to the Bonificio Adobe in Monterey, where seascapes and cypress dominated his later works.
GRANACCI, Francesco
Italian High Renaissance Painter, ca.1469-1543 was an Italian painter of the Renaissance. Born at Villamagna di Volterra, he trained in Florence in the studio of Domenico Ghirlandaio, and was employed painting frescoes for San Marco on commission of Lorenzo de'Medici. He is featured in Giorgio Vasari's Vite. His early works, such as the Enthroned Madonna between Saint Michael and John the Baptist (Staatliche Museen, Berlin), Adoration of the Child (Honolulu Academy of Arts) and four histories of Saint John the Baptist, were influenced by the style of Filippino Lippi. In 1508, Granacci went to Rome, where he and other artists helped his lifelong friend Michelangelo to transfer cartoons to the Sistine chapel ceiling. Returning to Florence, Granacci painted a Madonna with Child with Saints Francesco and Jerome for the Augustinian convent of San Gallo (now in the Gallery of the Academy), a Madonna della Cintola for the Company of San Benedetto Bigi, and in 1515 he participated in creating the decorations to celebrate the visit to Florence of Pope Leo X. In 1519, he painted a Madonna with Child and Saint John. Works of the years 1520-1525 betray a direct influence of Fra Bartolomeo, including a Madonna in throne between Saints Sebastiano and Francesco for Castelfiorentino and a Sacred Conversation for Montemurlo. An altarpiece of the Assumption is influenced by Pietro Perugino.
Barend Cornelis Koekkoek
1803-1862 Dutch Barend Cornelis Koekkoek Gallery Koekkoek??s own paintings reveal a careful study and synthesis of Dutch seventeenth century painters. His art is firmly rooted in the great Dutch romantic tradition established by the seventeenth-century masters: Hobbema, Cuyp, Ruisdael and Wynants. The golden light and the inclusion of travellers in his work suggests Koekkoek also admired the Dutch Italianate painters of the seventeenth century, collectively known as the Bamboccianti, especially Pieter van Laer and Jan Both. Koekkoek imagined his pictures as the result of an ideal combination of observation and artifice. He studied art and nature with equal acuity, creating beautiful landscape paintings that celebrated the greatness of Creation. ??Koekkoek's work impresses the spectator by its power, by the firm and correct construction of the trees, by the broad, natural growth of the leaves and boughs, [and] by the careful and elaborate reproduction of the wooded landscape?? (G. H. Marius, Dutch Painters of the Nineteenth Century, Woodbridge, 1973, p. 89). Up to this day, Willem Koekkoek's work is very much favoured for the lively composition and the mood of nostalgia, in which the Dutch Golden Age seems to linger on. Just as he was during his own lifetime, Koekkoek is widely regarded as the most accomplished landscape painter of Dutch romanticism, against whose scrupulously refined paintings the work his contemporaries is measured.