1255-1318 Italian Duccio di Buoninsegna Locations Italian painter. He was one of the most important painters of the 14th century and like his slightly younger contemporary, Giotto, was a major influence on the course of Italian painting. An innovator, he introduced into Sienese painting new altarpiece designs, a dramatic use of landscape, expressive emotional relationships, extremely complex spatial structures and a subtle interplay of colour. His most important and revolutionary work, the Maeste for Siena Cathedral, was never matched during the 14th century, if at all, and his influence lasted well into the 15th century.  Related Paintings of Duccio di Buoninsegna :. | Peter's First Denial of Christ and Christ Before the High Priest Annas | Polyptych No. 28 (detail) dfgn | Christ Entering Jerusalem (mk08) | Crevole Madonna (detail) sdg | Adoration of the Magi |
Related Artists:
Ranney William Tylee
German-born American Painter, 1813-1857 American painter. He spent six formative years in the hill country of North Carolina. By 1834 he was working and studying drawing in New York, but two years later he went to Texas to join in the war for independence. Although he returned to New York a year later, it was not until 1846, with the outbreak of the Mexican War, that Ranney began to use his Western experience as the basis for his painting. With the encouragement of the American Art Union, he executed three types of Western subject: the Western trapper or hunter, pursuing a dangerous life on the prairies, as in Trapper's Last Shot (1850; untraced; engraved and lithographed by T. Dwight Booth); the pioneer family, heading across the plains with children, dogs and goods, as in Advice on the Prairie (1853; Malvern, PA, Claude J. Ranney priv. col.); and the dangers of emigration, for example Prairie Fire.
Hans Holbein
German 1497-1543 Hans Holbein Galleries Holbein always made highly detailed pencil drawings of his portrait subjects, often supplemented with ink and colored chalk. The drawings emphasize facial detail and usually did not include the hands; clothing was only indicated schematically. The outlines of these drawings were then transferred onto the support for the final painting using tiny holes in the paper through which powdered charcoal was transmitted; in later years Holbein used a kind of carbon paper. The final paintings thus had the same scale as the original drawings. Although the drawings were made as studies for paintings, they stand on their own as independent, finely wrought works of art. How many portraits have been lost can be seen from Holbein's book (nearly all pages in the Royal Collection) containing preparatory drawings for portraits - of eighty-five drawings, only a handful have surviving Holbein paintings, though often copies have survived. David Hockney has speculated in the Hockney-Falco thesis that Holbein used a concave mirror to project an image of the subject onto the drawing surface. The image was then traced. However this thesis has not met with general acceptance from art historians. A subtle ability to render character may be noted in Holbein's work, as can be seen in his portraits of Thomas Cromwell, Desiderius Erasmus, and Henry VIII. The end results are convincing as definitive images of the subjects' appearance and personality.
Jean Raoux
French Painter, 1677-1734, French painter. He trained first in Montpellier with Antoine Ranc (1634-1716), in whose studio he completed his early painting Ariadne on Naxos (1701; Montpellier, Mus. Fabre). He subsequently moved to the Paris studio of Bon Boullogne and in 1704 won the Prix de Rome with David Slaying Goliath (untraced). He completed his education at the Acad?mie de France in Rome and also spent time in Florence and Padua. For the Cathedral at Padua he executed an Annunciation and a Visitation (both in situ). In 1707-9 Raoux was in Venice, where he made contact with his future patron Philippe de Vendeme (1665-1727), Grand Prior of the Order of the Knights of Malta. From 1714 he lodged in the Grand Prior's Paris residence, the Temple, a privilege that was renewed in 1719 by Vendeme's successor Jean-Philippe,