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 :. | Miracle of Fire | Jesus crucified like back | Christ on the Cross | St Louis of France and St Louis of Toulouse | Lodewijk of Toulouse Crowns Robert of Anjou, King of Napels |
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Arthur Pond
Arthur Pond (1705?-1758) was an English painter and engraver. Born about 1705, was educated in London, and stayed for a time in Rome studying art, in company with the sculptor Roubiliac. He became a successful portrait-painter. He was elected a Fellow of the Royal Society in 1752, and died in Great Queen Street, Lincoln's Inn Fields, 9 September 1758. His numerous original portraits include Alexander Pope, William, Duke of Cumberland, and Peg Woffington. Pond was also a prolific etcher, and used various mixed processes of engraving by means of which he imitated or reproduced the works of masters such as Rembrandt, Raphael, Salvator Rosa, Parmigiano, Caravaggio, and the Poussins. In 1734-5 he published a series of his plates under the title Imitations of the Italian Masters. He also collaborated with George Knapton in the publication of the Heads of Illustrious Persons, after Jacobus Houbraken and George Vertue, with lives by Thomas Birch (London, 1743-52); and engraved sixty-eight plates for a collection of ninety-five reproductions from drawings by famous masters, in which Knapton was again his colleague. Another of his productions was a series of twenty-five caricatures after Pier Leone Ghezzi, republished in 1823 and 1832 as Eccentric Characters.
Jacob Ferdinand Voet
(c. 1639 - c. 1689/1700) was a Flemish Baroque portrait painter. According to the Netherlands Institute for Art History (RKD) he was born at Antwerp as the son of the painter Elias Voet.[1] He travelled to Rome in 1679-1680, Milan in 1680, Florence in 1681, Turin in 1682-1684, and returned to Antwerp in 1684. While in Rome he lived with the painter-engraver Cornelis Bloemaert until he was banned for his portraits of women portrayed with unseemly decollet, whereupon they left Rome together. He undertook a journey to Paris in 1686 where he became court painter until he died there.He is registered as a painter of miniature portraits. According to Houbraken, he made his return journey to Antwerp from Turin in the company of Jan van Bunnik, who he had already met in Rome in the company of Cornelis Bloemaert. From Turin they set out for Lyons, where they met Adriaen van der Cabel, Peter van Bloemen, and Gillis Wenix. They set off for Paris in the company of a third painter who was a good painter of "bataljes" or battle scenes. Houbraken reports that this was Jacob, Jan van Bunnik's brother, but had not mentioned him earlier in his Jan van Bunnik biography. The RKD makes no mention of a Jacob van Bunnik.
Henry Herbert La Thangue
British painter , 1850-1920