Italian Mannerist Writer and Painter, 1511-1574 Italian painter, architect, and writer. Though he was a prolific painter in the Mannerist style, he is more highly regarded as an architect (he designed the Uffizi Palace, now the Uffizi Gallery), but even his architecture is overshadowed by his writings. His Lives of the Most Eminent Architects, Painters, and Sculptors (1550) offers biographies of early to late Renaissance artists. His style is eminently readable and his material is well researched, though when facts were scarce he did not hesitate to fill in the gaps. In his view, Giotto had revived the art of true representation after its decline in the early Middle Ages, and succeeding artists had brought that art progressively closer to the perfection achieved by Michelangelo.   Related Paintings of VASARI, Giorgio :. | The Nativity wt | The Annunciation (mk05) | Monument to Michelangelo ar | Allegory of the Immaculate Conception er | Monument to |
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Jean joseph Taillasson
French Painter , Bordeaux 1745-1809 Paris was a French history painter and portraitist, draftsman and art critic, who matured his talent in the Paris ateliers of Joseph-Marie Vien (from 1764) and Nicolas Bernard L??pici?? and, having won third place in the Prix de Rome competition, 1769, spent four years, 1773-77, in Italy. At his return to Paris he set an early example of neoclassicism. His Observations sur quelques grands peintres, (Paris, Duminil-Lesueur) 1807, offered anti-academic advice somewhat at variance with his own manner
Marx Reichlich
1460-1520 German Marx Reichlich Gallery Austrian painter. His name, which first appeared in records of Salzburg citizens in 1494, has been linked (Semper) to an artist who signed some of his paintings with the initials M R. The earliest of the initialled panels, the Adoration of the Magi with the Donor Heinrich Mentlberger (1489; Innsbruck, ex-Wilten Abbey Church; Innsbruck, Tirol. Landesmus.), suggests that Reichlich had trained with the Tyrolean artists Friedrich Pacher and Michael Pacher. The latter lived in Salzburg from 1495 to 1498, and the stylistic association with him visible in the Perckhamer Altarpiece (c. 1495-8; Austria, priv. col., see Oberhammer, nos 1-12) may account for Reichlich's having become a citizen in Salzburg. The connections with both Pachers and the fact that Reichlich received several commissions in Neustift (Novacella, nr Bressanone) suggest that his origins were in that region. According to a receipt dated 1499, he painted a panel (untraced) for the Benediktinerstift of St Lambrecht in Styria. In 1508 Emperor Maximilian I commissioned him to restore the frescoes (in situ) in Schloss Runkelstein near Bozen (Bolzano). The latest panels signed with the initials M R make up part of a double-winged altarpiece (Heiligenblut, St Vincent) that was completed by one 'Wolffgang Maller' in 1520, perhaps because Reichlich was no longer living. Also attributed to Reichlich on stylistic, technical and circumstantial grounds are eight portraits (c. 1519-20) formerly assigned to a 'Master of the Angrer Portrait' whose name was derived from the riveting bust-length portrait of Canon Gregor Angrer of Brixen (1519; Innsbruck, Tirol. Landesmus.).
John Robert Cozens
British 1752-1797 ). Painter, draughtsman and printmaker, son of (1) Alexander Cozens. He was taught by his father, and an album by John Robert (Aberystwyth, N. Lib. Wales) indicates that he also learnt to sketch landscape directly from nature. The album contains drawings that record sketching tours to Nacton, near Ipswich, Suffolk (Aug 1768); day trips to the outskirts of London: Greenwich and Blackheath (1768, 1771), Epsom (1768) and Hampstead (1770-71); and a trip to Matlock, Derbys (June 1772). The earliest of these sketches are careful pencil drawings, some later reworked in pen, ink and wash, and there is at least one attempt at added colour. Later drawings are freer, either noting an idea for a composition or recording light and shade with rapid washes of ink over pencil. His father worked mainly in monochrome brown or grey washes, and John Robert earliest exhibits (he exhibited at the Society of Artists every year from 1767 to 1771) were also in this medium.