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 :. | Spozalizio | Ceremony | Spozalizio (The Engagement of Virgin Mary) af | The Adoration of the Magi | St George and the Dragon st |
Related Artists:
Antonio Puga
Spanish Baroque Era Painter, 1602-1648
Ludovico Carracci
(Bologna 1555-1619) Painter, draughtsman and etcher. His father, Vincenzo Carracci, was a butcher, whose profession may be alluded to in Ludovico's nickname 'il Bue', though this might also be a reference to the artist's own slowness. Ludovico's style was less classical than that of his younger cousins Agostino and Annibale, perhaps because of a mystical turn of mind that gave his figures a sense of other-worldliness. Like his cousins, he espoused the direct study of nature, especially through figure drawing, and was inspired by the paintings of Correggio and the Venetians. However, there survives in his work, more than in that of his cousins, a residue of the Mannerist style that had dominated Bolognese painting for most of the mid-16th century. Ludovico maintained a balance between this Mannerist matrix, his innate religious piety and the naturalism of the work of his cousins. With the exception of some travels during his training and a brief visit to Rome in 1602, Ludovico's career was spent almost entirely in Bologna.
BERCKHEYDE, Gerrit Adriaensz.
Dutch Baroque Era Painter, 1638-1698 Brother of Job Berckheyde. Gerrit specialized in a particular type of architectural subject, the TOWNSCAPE. His painted work shows a debt not only to Pieter Saenredam's conception of the building portrait but also to Saenredam's refined draughtsmanship and dispassionate attitude; these qualities mark Berckheyde as a classicist and akin to Vermeer. Berckheyde favoured views of monuments on large open squares, a choice that distinguishes him from the other great Dutch townscape painter, Jan van der Heyden, who preferred views along canals in which clarity was sacrificed for pictorial effect.