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 :. | The Arrest of Christ | Decorative band with figure | Anna and Joachim Meet at the Golden Gate | Vision of the Thrones | Last Judgment |
Related Artists:
Jacquemart de Hesdin
French Gothic Era Miniaturist, ca.1350-1410 Jacquemart's whole career developed at Bourges (the capital of the Province of Berry) at the court of John, Duke of Berry. He was active in the Duke's service from 1384 until 1414 and made a significant contribution to the Duke's famous illuminated books, in particular the Tr??s Belles Heures du Duc de Berry, the Grandes Heures, the Petites Heures, and a Psalter, often working with the Limbourg brothers and the painter known as the Boucicaut Master. On 28 November 1384, Jacquemart was paid for the first time by the steward of John, Duke of Berry, to cover expenses he and his wife had incurred in Bourges, and he was also paid for his clothes for the coming winter. After 1384, he was paid a regular salary. In 1398, while Jacquemart was working for Berry in the castle at Poitiers, he was accused with his assistant Godefroy and with his brother-in-law Jean Petit of the theft of colours and patterns from Jean de Hollande, another painter who worked for Berry. Jacquemart is recorded as staying in Bourges in 1399. The Tr??s Belles Heures du Duc de Berry (also sometimes called the Brussels Hours, from the city where it has long been kept) is chiefly the work of Jacquemart. The book is described in an inventory of Berry's library dated 1402: ?? Unes tr??s belles heures richement enlumin??es et ystori??es de la main Jacquemart de Odin. ?? The Tr??s Belles Heures disappeared for several hundred years, but the scholarly consensus is that the manuscript in the Biblioth??que Royale at Brussels is the one described in the 1402 inventory. The Petites Heures is believed to date from before 1388, apart from a miniature of the Duke of Berry himself added later by the Limbourg brothers. Millard Meiss suggests that at least five painters worked on the book's illuminations, Jacquemart and four unidentified artists. One of these four is commonly referred to as the Pseudo-Jacquemart. Jacquemart's small painting The Carrying of the Cross (vellum mounted on canvas, 38 cm by 28 cm, dated before 1409) is in the Mus??e du Louvre.
Jan Van Den Hoecke
Flemish Baroque Era Painter, 1611-1651 was a Flemish Baroque painter and draughtsman. He was born and died in Antwerp. He first apprenticed with his father, the painter Gaspar van den Hoecke (1595?C1648); then worked in the studio of Peter Paul Rubens. Jan's brother Robert van den Hoecke (1622?C1668) was also a painter. The artist and his father were well known for their 1635 execution of decorations for the Arch dedicated to the Emperor Ferdinand III in Antwerp. In this collaboration, Jan painted monumental representations, as seen in his piece, Triumphal Entrance of Cardinal Prince Ferdinand of Spain, (Uffizi Gallery). Hoecke then traveled to Austria under the commission of the Emperor Ferdinand III after 1637, staying for about ten years. He also painted for Ferdinand's brother, Archduke Leopold Wilhelm of Austria (1614-C1662), including a Madonna and Child and a number of allegorical pieces. Before this he traveled to Italy and worked in Rome, which may have influenced his style some. Another piece by Hoecke is his, Hercules between Vice and Virtue, (Uffizi Gallery), which shows an influence from both Rubens, and another pupil of the master Baroque painter, Anthony van Dyck.
Louis Dewis
(1872-1946) was a Belgian Post-Impressionist painter, who lived most of his adult life in France. Dewis was born Isidore Louis Dewachter in Mons, Belgium, the son of Isidore Louis Dewachter and Eloise Desmaret Dewachter. He spent his formative years in Liege where his closest boyhood friend was Richard Heintz (fr:Richard Heintz) (1871-1929), who also became an internationally known landscape artist. Although the name "Dewachter" may have Flemish roots, Dewachter always considered himself a Walloon.