Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,   Related Paintings of RAFFAELLO Sanzio :. | St Cecilia | St George Fighting the Dragon | Christ Bury | The Sibyls | Mountain |
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Jozef Simmler
Jozef Simmler (March 14, 1823 - March 1, 1868) was a Polish painter known for his classical style and his Polish subjects. Perhaps his most famous work is Death of Barbara Radziwillowna. an oil on canvas work completed in 1860. It now hangs in the National Museum, Warsaw. His daughter's brother-in-law was Eduard Strasburger, the famous Polish-German botanist. One of Simmler's grandsons was Henryk Leon Strasburger, a Polish delegate to the League of Nations
Jan van de Capelle
seascape master Dutch Baroque Era Painter, C.1624-1679
Giovanni Antonio Fumiani
(1645-1710) was an Italian painter of the Baroque period. Born in Venice in 1645, he trained in Bologna under Domenico degli Ambrogi, a specialist in quadratura, but by 1668 he was back in Venice, where he painted a Virgin and Saints in San Benedetto. He was influenced by Ludovico Carracci and Alessandro Tiarini, and soon also became interested in the work of Paolo Veronese, so that he started to use elaborate architectural settings and brighter colours. He painted a Virgin Appearing to Pius V (1674; Vicenza, S Lorenzo), whose monumentality foreshadows Tiepolo, whereas mosaics in San Marco, created in 1677 from Fumianies cartoons, are closer to the idiosyncratic art of Pietro della Vecchia. He contributed to the decoration of San Rocco (1675, 1676, 1678), where he painted a large canvas of the Charity of St Roch on the ceiling of the nave, In his smaller paintings, however, such as the modelli (Florence, Uffizi) painted for the Ferdinand de Medici, Grand Prince of Tuscany, for whom he worked for a long time, with Niccole Cassana acting as intermediary, Fumiani revealed a lively decorative sense and a taste for animated, sensual subjects that produced works of great quality. His last work is the large lunette depicting Frederick III visiting St Zacharyes Convent in the Company of the Doge (Venice, San Zaccaria). The decoration of San Pantalon with scenes from the Life of St Pantaleon (1680-1704) utilized canvases to cover a large ceiling (25x50 m), an ambitious undertaking, both in its scale and in the unity of the magniloquent images, that parallels Andrea Pozzoes decoration at the church of Sant'Ignazio in Rome. Fumiani was responsible for painting what is claimed to the largest painting on canvas in the world and covers the whole of the ceiling of the church Chiesa di San Pantaleone Martire, known as San Pantalon, in Venice. The painting depicts The Martyrdom and Apotheosis of St Pantalon, which he painted from 1680 until 1704. He putatively died from a fall from a scaffold, although some sources date his death to six years after he stopped work on the canvas