1485-1547 Italian Sebastiano del Piombo Galleries Italian painter. He was one of the most important artists in Italy in the first half of the 16th century, active in Venice and Rome. His early, Venetian, paintings are reminiscent of Giovanni Bellini and to a lesser extent of Giorgione. With his move to Rome in 1511 he came under the influence of Raphael and then of Michelangelo, who supplied him with drawings. After the death of Raphael (1520) he was the leading painter working in Rome and was particularly noted as a portrait painter. In his finest works, such as the Piete (1513; Viterbo, Mus. Civ.) and the Flagellation (1516-24; Rome, S Pietro in Montorio), there is a remarkable fusion of the Venetian use of colour and the grand manner of central Italian classicism.  Related Paintings of Sebastiano del Piombo :. | Cardinal Carondelet and his Secretary | La Sainte Famille avec sainte Catherine | Portrait of a Man | the death of adonis | The Visitation (mk05) |
Related Artists:
Eugene de Blaas
Austrian Academic Painter, 1843-1931
Basilius Besler
1561-1629,was a respected Nuremberg apothecary and botanist, best known for his monumental Hortus Eystettensis. He was curator of the garden of Johann Konrad von Gemmingen, prince bishop of Eichstätt in Bavaria. The bishop was an enthusiastic botanist who derived great pleasure from his garden, which was the only important European botanical garden outside Italy. The gardens surrounded the bishop's palace, Willibaldsburg, which was built on a hill overlooking the town. These gardens had been started in 1596 and designed by Besler's colleague, Joachim Camerarius, the Younger (1534-1598), a physician and botanist. Upon Camerarius' death in 1598, Besler had the remainder of Camerarius' plants moved to Eichstätt and carried on the work of planting and supervision. The bishop commissioned Besler to compile a codex of the plants growing in his garden, a task which Besler took sixteen years to complete, the bishop dying shortly before the work was published. Besler had the assistance of his brother and a group of skilled German draughtsmen and engravers, including Sebastian Schedel, an accomplished painter, and Wolfgang Kilian, a skilled engraver from Augsburg. Kilian and his team engraved the initial copper plates, but after the bishop??s death, the operations moved to N??rnberg and a new team of engravers, among whom were Johannes Leypold, Georg Gärtner, Levin and Friedrich van Hulsen, Peter Isselburg, Heinrich Ulrich, Dominicus Custos and Servatius Raeven. Camerarius' nephew, Ludwig Jungermann (1572-1653), was a botanist and wrote the lion's share of the descriptive text. The work was named Hortus Eystettensis (Garden at Eichstätt). The emphasis in botanicals of previous centuries had been on medicinal and culinary herbs, and these had usually been depicted in a crude manner. The images were often inadequate for identification, and had little claim to being aesthetic. The Hortus Eystettensis changed botanical art overnight. The plates were of garden flowers, herbs and vegetables, exotic plants such as castor-oil and arum lilies.
Walter Moras
painted Markisches Dorf in 1888