Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.   Related Paintings of GIOTTO di Bondone :. | Joachim among the Shepherds | St Francis Giving his Mantle to a Poor Man | Death and Ascension of St Francis | Vision of the Ascension of St Francis | Allegory of Obedience |
Related Artists:
LELY, Sir Peter
Dutch/English painter (b. 1616, Soest, d. 1680, London Dutch painter, draughtsman and collector, active in England. By a combination of ability and good fortune, he rapidly established himself in mid-17th-century London as the natural successor in portrait painting to Anthony van Dyck. Between van Dyck's death in 1641 and the emergence of William Hogarth in the 1730s, Lely and his successor, Godfrey Kneller, were the leading portrait painters in England. After the restoration of the monarchy in 1660, Lely dominated the artistic scene, and his evocation of the court of Charles II is as potent and enduring as was van Dyck's of the halcyon days before the English Civil War. Although Lely's reputation was seriously damaged by portraits that came from his studio under his name but without much of his participation, his development of an efficient studio practice is of great importance in the history of British portrait painting. The collection of pictures, drawings, prints and sculpture
Bernard, Emile
French, 1868-1941 French painter and writer. He was the son of a cloth merchant. Relations with his parents were never harmonious, and in 1884, against his father's wishes, he enrolled as a student at the Atelier Cormon in Paris. There he became a close friend of Louis Anquetin and Toulouse-Lautrec. In suburban views of Asni?res, where his parents lived, Bernard experimented with Impressionist and then Pointillist colour theory, in direct opposition to his master's academic teaching; an argument with Fernand Cormon led to his expulsion from the studio in 1886. He made a walking tour of Normandy and Brittany that year, drawn to Gothic architecture and the simplicity of the carved Breton calvaries. In Concarneau he struck up a friendship with Claude-Emile Schuffenecker and met Gauguin briefly in Pont-Aven.
Ambroise-Louis Garneray
(19 February 1783 - 11 September 1857) was a French corsair, painter and writer. He served under Robert Surcouf and Jean-Marie Dutertre, and was held prisoner by the British for eight years. Garneray was born in Paris (on Rue Saint-Andre-des-arts, in the Latin Quarter) on 19 February 1783. He was the elder son of Jean-François Garneray (1755-1837), painter of the king, who was pupil of Jacques-Louis David. At thirteen, he joined the Navy as a seaman, encouraged by his cousin, Beaulieu-Leloup, commander of the frigate Forte ("the Stout one"). Garneray sailed from Rochefort to the Indian Ocean with the frigate division under Sercey, to which the Forte belonged. Garneray took part in the various campaigns of Sercey division and witnessed the hardship it met in the battle against Arrogant and Victorious. He then served in 1798 on the corvette Brûle Gueule ("Mouth burner"), which patrolled with the frigate Preneuse ("the Taker"). Returning from this campaign, the Brûle Gueule and Preneuse were chased by a British squadron comprising two ships of the line, one frigate and one corvette; the French flew into a creek near Black River whose shallow waters prevented the British from pursuing. The next day, the British squadron attacked; the French had established strong defensive positions by installing the unusable batteries of their ships ashore, and repelled the British squadron. In 1799, Garneray was promoted to quartermaster and "first painter of the edge" on the Preneuse under captain Jean-Marthe-Adrien l'Hermite. The frigate was the last French official force in the Indian Ocean. This patrol went into trouble, in spite of an exceptional combat against the British ship of the line the Jupiter. Returning to Mauritius, her crew suffered from scurvy, and the Preneuse had to be kept quarantined and had to return to the British forces making the blockade of the island. Garneray escaped captivity by regaining the coast with the stroke. In spite of the disaster, Garneray kept longstanding admiration and friendship for to Lhermitte, whom he would continue to visit until his death 1826. Garneray: Capture of Kent by SurcoufFor lack of official ships, Garneray joined the Confiance ("the Trust") of Robert Surcouf as an ensign, from April at December 1800. He took part in the capturing and boarding the Kent in October 1800. It was the only time where Garneray made money as a sailor. Upon returning from patrol, he invested his share in a slave trading ship, l'Union, on which he was a first mate. He sailed on various trading ships during the peace of Amiens, after which he served aboard the Pinson ("the Finch"), a cutter based in Île Bourbon. He replaced the commander when he died, and was shipwrecked shortly thereafter. He then served on the corsair Tigre du Bengale and eventually on the frigate Atalante attached to the squadron of Linois. He later served on the Belle Poule ("beautiful chick"), and was aboard when she was captured by the British in March 1806. Wounded, Garneray was led in England and spent the eight following years on prison hulks off Portsmouth (on the Protee, the Couronne ("Crown") and the Vengeance. He was able to improve his standard of living by selling paintings to a British merchant. A statement attributed to him goes: "But for piracy, I believe that I practiced about all kinds of navigation".