Italian b1240 - d1302 Cimabue Location Italian painter and mosaicist. His nickname means either bull-head or possibly one who crushes the views of others (It. cimare: top, shear, blunt), an interpretation matching the tradition in commentaries on Dante that he was not merely proud of his work but contemptuous of criticism. Filippo Villani and Vasari assigned him the name Giovanni, but this has no historical foundation. He may be considered the most dramatic of those artists influenced by contemporary Byzantine painting through which antique qualities were introduced into Italian work in the late 13th century. His interest in Classical Roman drapery techniques and in the spatial and dramatic achievements of such contemporary sculptors as Nicola Pisano, however, distinguishes him from other leading members of this movement. As a result of his influence on such younger artists as Duccio and Giotto, the forceful qualities of his work and its openness to a wide range of sources, Cimabue appears to have had a direct personal influence on the subsequent course of Florentine, Tuscan and possibly Roman painting.   Related Paintings of Cimabue :. | Maesta | Crucifix | Notre Dame, dignified with the surrounding El Angel 6 | The Madonna of St. Francis. | The Capture of Christ (detail) fdg |
Related Artists:
Edward Wadsworth
British 1889-1949 Edward Wadsworth Gallery 1949). English painter. He was raised in a northern industrial environment that was to appear with great forcefulness in his Vorticist work. He studied engineering in Munich from 1906 to 1907 and, like many other Vorticists (see VORTICISM), Wadsworth interest in the machine showed itself at an early age. He also studied art at the Knirr School in Munich in his spare time, before attending Bradford School of Art; he then studied through a scholarship at the Slade School of Art (1908-12) in London. Early paintings like Harrogate Corporation Brickworks (1908; untraced) show a growing interest in industrial subjects. Under the impact of the Post-Impressionists, he turned for a while to portraiture, beach scenes and still-lifes. His work was included in the final month of the Second Post-Impressionist Exhibition held at the Grafton Galleries in 1912, and in the summer of the same year he joined the Omega Workshops, although his alliance with Roger Fry was short-lived. Wadsworth new friendship with Wyndham Lewis led to an abrupt departure from Omega in October, when several of his works were included in Frank Rutter Post-Impressionist and Futurist exhibitions at the Doro Gallery in London. His painting L Omnibus (c. 1913; untraced; see 1974 exh. cat., no. 12) announced his involvement with motorized themes that clearly derived from Futurism.
Jerome Myers
(March 20, 1867 - June 19, 1940) was a U.S. artist and writer. Born in Petersburg, Virginia and raised in Philadelphia, Trenton and Baltimore, he spent his adult life in New York City. Jerome worked briefly as an actor and scene painter, then studied art at Cooper Union and the Art Students League where his main teacher was George de Forest Brush. In 1896 and 1914, he was in Paris, but his main classroom was the streets of New York's lower East Side. His strong interest and feelings for the new immigrants and their life resulted in hundreds of drawings, as well as paintings and etchings capturing the whole panorama of their lives as found outside of the crowded tenements which were their first homes in America.
Village procession
painted Village procession in 1640