(October 21, 1581 C April 16, 1641) was an Italian Baroque painter of the Bolognese School, or Carracci School, of painters. Domenichino was born at Bologna, son of a shoemaker, and there initially studied under Denis Calvaert. After quarreling with Calvaert, he left to work in the Accademia degli Incamminati of the Carracci where, because of his small stature, he was nicknamed Domenichino, meaning "little Domenico" in Italian. He left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge from Annibale Carracci's supervision. As a young artist in Rome he lived with his slightly older Bolognese colleagues Albani and Guido Reni, and worked alongside Lanfranco, who later would become a chief rival. In addition to assisting Annibale with completion of his frescoes in the Galleria Farnese, including A Virgin with a Unicorn (c. 1604-5), he painted three of his own frescoes in the Loggia del Giardino of the Palazzo Farnese c. 1603-04. With the support of Monsignor Giovanni Battista Agucchi, the maggiordomo to Cardinal Aldobrandini and later Gregory XV, and Giovanni??s brother Cardinal Girolamo Agucchi, Domenichino obtained further commissions in Rome. His most important project of the first decade was decoration of the Cappella dei Santissimi Fondatori in the medieval basilica of the Abbey of Grottaferrata (1608-10), some 20 kilometers outside Rome, where Odoardo Farnese was the titular abbot. Meanwhile he had completed frescoes c. 1604-05 in the church of Sant'Onofrio, feigned stucco decoration of 1606-07 in the Palazzo Mattei, a large scene of The Flagellation of St. Andrew at San Gregorio Magno, painted in competition with a fresco by Reni that faces it, and a ceiling with Scenes from the Life of Diana, 1609, in the Villa Odescalchi at Bassano di Sutri (today Bassano Romano). Following Annibale Carracci's death in 1609, Annibale's Bolognese pupils, foremost Domenichino, Albani, Reni and Lanfranco, became the leading painters in Rome (Caravaggio had left Rome in 1606 and his followers there did not compete successfully with the Bolognese for fresco or altarpiece commissions). One of Domenichino's masterpieces, his frescoes of Scenes of the Life of Saint Cecilia in the Polet Chapel of San Luigi dei Francesi, was commissioned in 1612 and completed in 1615. Concurrently he painted his first, and most celebrated, altarpiece, The Last Communion of St. Jerome for the church of San Girolamo della Carite (signed and dated, 1614). It subsequently would be judged as being comparable to Raphael great Transfiguration and even as "the best picture in the world." By late 1616, Domenichino had designed the coffered ceiling with The Assumption of the Virgin in Santa Maria in Trastevere; and he had begun a cycle of ten frescoes depicting the Life of Apollo in a garden pavilion of the Villa Aldobrandini (Belvedere) in Frascati, where he was assisted by Giovanni Battista Viola, a Bolognese artist who, like Domenichino himself, was a pioneer in the development of classicistic landscape painting. From 1617 until 1621, Domenichino was absent from Rome, working in Bologna and at Fano, where during 1618-19 he frescoed the Nolfi chapel of the Fano Cathedral with Scenes from the Life of the Virgin. With the election of a Bolognese pope (Gregory XV) in 1621, Domenichino returned to Rome. Appointed Papal Architect (he built little but left drawings for various projects, most notably for the façade of Sant'Andrea della Valle and for the plan of Sant'Ignazio, both in Rome), he nonetheless continued to be most active as a painter, obtaining many commissions for altarpieces in Roman churches (San Lorenzo in Miranda, 1626-27, SS. Giovanni Evangelista e Petronio dei Bolognese, 1626-29, Santa Maria della Vittoria, 1629-30, and St. Peter's, 1625-30). He also executed numerous frescoes in Rome during the 1620s: a ceiling in the Palazzo Costaguti (c. 1622); the choir and pendentives in Sant'Andrea della Valle, where he worked in fierce competition with Lanfranco, who painted the dome above Domenichino's pendentives; and the pendentives of San Silvestro al Quirinale (c. 1628) and San Carlo ai Catinari (1628-30).  Related Paintings of Domenico Zampieri :. | Landscape with Hercules and Achelous, | Apparition of the Virgin and Child and San Gennaro at the Miraculous Oil Lamp, | A Virgin with a Unicorn, | Portrait of Giovanni Battista Agucchi, | Last Communion of St. Jerome, |
Related Artists:
Georges de Feure
1868-1928 French designer and painter. Son of a Dutch architect and a Belgian mother, he started out as an actor, costumier and then interior decorator in Paris. In 1894 at the Galerie des Artistes Modernes he exhibited watercolours and paintings of a moderate Symbolist style, typically depicting women in a manner reminiscent of Aubrey Beardsley work. Capturing the essence of the feminine spirit became his trademark. With Eugene Gaillard and Edouard Colonna he was selected by Siegfried Bing, founder of the Galeries de l Art Nouveau, to design rooms for his Pavilion Bing at the Exposition Universelle, Paris (1900). De Feure carpets, glassware and furniture designs for the boudoir and toilette were based on the theme of woman, emphasizing delicate lines and elegant sensuality. He later left Bing gallery and, as an independent designer, created vide-poche furniture, which contained hidden marquetry compartments. This furniture suggested notions of secrecy and coquetry, themes that de Feure pursued throughout his career.
Jean-Simon Fournier
(1791-1799 ) - Painter
CAMPI, Vincenzo
Italian Painter, 1536-1591 Vicenzo Campi (c. 1536 - 1591) was an Italian painter of the Renaissance from Cremona. His style merges Lombard with Mannerist styles, however, unlike his siblings, he is known for a series of canvases, mostly painted after 1570s , displaying genre scenes and local produce. At the time, this type of paintings were uncommon in Italy, and more common in Netherlands, as exemplified by the canvases of Joachim Beuckelaer. In Cremona, his extended family was the main artistic studio of his time. Giulio Campi and Antonio Campi were reportedly half-brothers, while Bernardino Campi was a distant relative. All were active and prominent local painters. In 1586-1589, he and his brother Antonio completed paintings for the church of San Paolo Converso in Milan.