Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.  Related Paintings of Titian :. | Salome, or Judith | Entombment (Pieta) | Christ Crowned with Thorns (mk05) | Mary Magdalen | Mary of Hungary, Regent of the Netherlands |
Related Artists:
Johann Ludwig Aberli
Swiss, 1723-1786, Swiss painter, draughtsman and engraver. In 1741 he moved to Berne, where he took drawing lessons with Johann Grimm (1675-1747), whose school of drawing he took over in 1747. He visited the Bernese Oberland with Emanuel Handmann, Christian Georg Schetz (1718-91) and Friedrich Wilhelm Hirt (1721-72) in 1759 and in the same year travelled to Paris with Adrian Zingg (1734-86). This was his only trip abroad, but it determined him to work exclusively as a landscape painter. After nine months he returned to Berne, where his landscape views became popular, particularly with foreign travellers, enamoured of 'Nature' and keen to retain souvenirs of their travels. He was one of the first artists to portray the beauties of the Swiss countryside; his favourite subjects were the Aare Valley and views of Swiss lakes (e.g. View of Erlach on the Lake of Biel; Berne, Kstmus.). He invented a technique known as the 'Aberli style', which consisted of watercolour washes added to an image in which slightly smudged outlines were achieved through a combination of engraving and etching. The prints were made from drawings taken from nature and finished in the studio. His style was characterized by delicate execution, an intimate narrative approach, refined colours and the ability to convey a light and vaporous atmosphere. Aberli's success was such that he had to employ assistants and pupils to aid him in the coloration process; his pupils included Erasmus Ritter, Johann Jakob Biedermann, Marquard Wocher (1760-1830), Gabriel Ludwig Lory the elder (1763-1840) and Peter Birmann. From 1773 to 1775 Aberli also painted a series of costumes in response to tourist demand.
De Braekeleer Adrien
Belgian , 1818-1904
Gregorio Lopes
Gregorio Lopes (c. 1490 - 1550) was one of the most important Renaissance painters from Portugal. Gregorio Lopes was educated in the workshop of Jorge Afonso, the court painter of King Manuel I. Later he himself became court painter for both Manuel I and for his successor, John III. In 1514 he married the daughter of Jorge Afonso, and in 1520 was knighted by Prince Jorge de Lencastre and entered the Order of Santiago. The work of Gregorio Lopes mainly consists of painted religious altarpieces for various churches and monasteries in central Portugal. Between 1520 and 1525 he worked (together with Jorge Leal) in painting altarpieces for the Saint Francis Convent of Lisbon. Also in the 1520s he painted panels for the Church of Paraeso (Paradise), also in Lisbon. In his first fase, Gregorio Lopes also worked in Sesimbra, Setebal and in the Monastery of Ferreirim, in this latter case together with Cristevao de Figueiredo and Garcia Fernandes. The painter moved in the 1530s to the city of Tomar, where he painted various panels for the Round Church of the Convent of Christ (1536 - 1539) and the main altarpiece of the Church of Saint John the Baptist (1538 - 1539). His last known works include altarpieces for the Convent of Santos-o-Novo in Lisbon (1540) and the Valverde Convent, near Évora (1545).