Alma Tadema
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8 January 1836 – 25 June 1912. Most renowned painters.

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Pollaiuolo, Piero
Portrat of Galeas-Maria Sforza

ID: 38472

Pollaiuolo, Piero Portrat of Galeas-Maria Sforza
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Pollaiuolo, Piero Portrat of Galeas-Maria Sforza


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Pollaiuolo, Piero

Italian, 1443-96  Related Paintings of Pollaiuolo, Piero :. | The Martydom of Saint Sebastian | Altarpiece with Three Saints | Martyrdom of St.Sebastian | Coronation of the Virgin | Portrat eines Madchens |
Related Artists:
CIMA da Conegliano
Italian Painter, ca.1459-1517 Italian painter. He belonged to the generation between Giovanni Bellini and Giorgione and was one of the leading painters of early Renaissance Venice. His major works, several of which are signed, are almost all church altarpieces, usually depicting the Virgin and Child enthroned with saints; he also produced a large number of smaller half-length Madonnas. His autograph paintings are executed with great sensitivity and consummate craftsmanship. Fundamental to his artistic formation was the style that Bellini had evolved by the 1470s and 1480s; other important influences were Antonello da Messina and Alvise Vivarini. Although Cima was always capable of modest innovation, his style did not undergo any radical alteration during a career of some 30 years, and his response to the growing taste for Giorgionesque works from the early 16th century remained superficial. He seems to have maintained a sizeable workshop,
Marquis, James Richard
Irish, Scottish heritage, Active 1835-85
CARRACCI, Agostino
Italian Baroque Era Painter, 1557-1602 Painter, engraver and draughtsman, cousin of Ludovico Carracci. He abandoned his profession as a tailor, which was also that of his father, Antonio, and began training as a painter. According to Faberi, he studied first in the workshop of the painter Prospero Fontana (like Ludovico), then trained under the engraver and architect Domenico Tibaldi and under the sculptor Alessandro Menganti (1531-c. 1594). However, it is likely that Faberi's account was influenced by his desire to present Agostino's career as an example of the versatile 'cursus studiorum' advocated by the Accademia degli Incamminati. Other sources (Mancini, Malvasia, Bellori) agree that it was his cousin Ludovico who was responsible for directing him towards painting.






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