Italian Early Renaissance Painter, 1449-1494 Florentine painter, whose family name was Bigordi. He may have studied painting and mosaics under Alesso Baldovinetti. Ghirlandaio was an excellent technician. Keenly observant of the contemporary scene, he depicted many prominent Florentine personalities within his religious narrative paintings. Among his earliest frescoes are the Madonna with the Vespucci Family and the Last Supper (Church of the Ognissanti, Florence). He painted scenes from the life of Santa Fina (collegiate church in San Gimigniano) and frescoes in the Palazzo Vecchio, Florence. In 1481, Pope Sixtus IV called him to Rome, along with Botticelli, to decorate the Sistine Chapel. He painted the Calling of the First Apostles, a scene close in spirit to Masaccio. He returned to Florence to work on the frescoes in the Sassetti Chapel in Santa Trinita. He introduced Sassetti, Corsi, Poliziano, the Medici, and many other contemporaries as participants in the life of St. Francis. Ghirlandaio's most famous achievement is his fresco cycle of the life of Mary and St. John the Baptist for the choir of Santa Maria Novella. Michelangelo served an apprenticeship with him at this time and probably worked on these frescoes. Other examples of his art are the Adoration of the Magi (Uffizi); another Adoration (Hospital of the Innocents); a mosaic of the Annunciation for the Cathedral; a portrait of Francesco Sassetti and his son (Metropolitan Mus.);   Related Paintings of GHIRLANDAIO, Domenico :. | St Jerome | Calling of the First Apostles | Portrait of the Donor Nera Corsi Sassetti | Renunciation of Worldly Goods | Expulsion of Joachim from the Temple |
Related Artists:
James Walker
American, 1819-1889
Jean Hey
Flemish Northern Renaissance Painter, active 1480-1500 Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family.Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perreal and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.
Giovanni Paolo Lomazzo
1538 - 1600 was an Italian painter, belonging to the second generation that produced Mannerism in Italian art and architecture. Gian Paolo Lomazzo was born in Milan from a family emigrated from the town of Lomazzo. His early training was with Giovan Battista della Cerva in Milan. He painted a large Allegory of the Lenten Feast for San Agostino in Piacenza (1567). He also painted an elaborate dome with Glory of Angels for the Capella Foppa in San Marco in Milan. He also painted the Fall of Simon Magus in the wall of the chapel. Lomazzo became blind in 1571, and turning to writing, produced two complex treatises that are milestones in the development of art criticism. His first work, Trattato dell'arte della pittura, scoltura et architettura (1584) is in part a guide to contemporary concepts of decorum, which the Renaissance inherited in part from Antiquity, which controlled a consonance between the functions of interiors and the kinds of painted and sculpted decors that would be suitable; Lespingola offered a systematic codification of esthetics that typifies the increasingly formalized and academic approaches typical of the later sixteenth century. His less practical and more metaphysical Idea del tempio della pittura ("The ideal temple of painting", 1590) offers a description along the lines of the "four temperaments" theory of the human nature and personality,