1283-1344 Italian Simone Martini Locations He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maest?? of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maest?? (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.   Related Paintings of Simone Martini :. | The Road to Calvary | Division of the Cloak | Guidoriccio da Fogliano | Equestrian portrait of Guidoriccio da Fogliano | The Virgin of the Annunciation |
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Theodoor Rombouts
Flemish , b. 1597, Antwerpen, d. 1637, Antwerpen was a Flemish Baroque painter specializing in Caravaggesque genre scenes of card players and musicians. He studied under Abraham Janssens in Antwerp and was in Italy between 1616 and 1625, where he was heavily influenced by Caravaggio.
Mirza Ali
the period of 1465-1535
Salomon de Caus
b France, 1576; bur Paris, 28 Feb 1626,He was a Huguenot from the Dieppe region (Normandy). Between c. 1595 and 1598 he visited Italy, where he was strongly influenced by the gardens laid out c. 1570 by Bernardo Buontalenti at Pratolino, near Florence, and by their mechanical artifices. De Caus's work also reveals a knowledge of the gardens of the Villa d'Este in Tivoli. From c. 1598 to 1610 he was in Brussels, in the service of the Stadholder of the Netherlands, Albert, Archduke of Austria. There he was the engineer responsible for wells, fountains and the automatic works in the two grottoes (destr. 1768) in the garden of the Stadholder's residence. From 1610 he lived in England, moving in the artistic circle of Henry, Prince of Wales, to whom he taught drawing and for whom he built a picture gallery at Richmond. Together with Constantino de' Servi (1554-1622) he was engineer and supervisor of the waterworks at Richmond Palace. De Caus dedicated his first book, La Perspective (1612), to Prince Henry and included garden designs for the Prince in his second book, Les Raisons des forces movvantes (1615). He worked at several sites in England, including Somerset House in London, where he is thought to have erected a Parnassus, and at Greenwich Palace, Hatfield House and Gorhambury House (Herts) and Wilton House (Wilts). Nothing has survived of his work of this period.