Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.   Related Paintings of GIOTTO di Bondone :. | Mary Magdalene-s Voyage to Marseilles | Last Judgment | The Stefaneschi Triptych Martyrdom of St Paul | Detail of Birth of Christ | Feast of Herod |
Related Artists:
MICHELI Parrasio
Italian painter, Venetian school (before 1516 - 1578) Italian painter and draughtsman. The natural son of a Venetian aristocrat, Salvador Michiel, he pursued his early training in the workshop of Titian and later in his career was associated with Paolo Veronese, who provided him with drawings for his paintings. He is known to have been in Rome before 1547. Micheli's earliest work is an altarpiece depicting the Virgin and Child with SS Lorenzo and Ursula (1535; Murano, S Pietro Martire), which was commissioned by Ursula Pasqualigo in memory of her deceased husband, the former Procurator Lorenzo Pasqualigo. There is also a Venus and Cupid (c. 1547; London, priv. col.) and a Lucrezia (c. 1547; London, Mond col.). In 1550 he married the daughter of a German baker. Several documented paintings have been destroyed or are untraced: the painting of Doge Lorenzo Priuli Accompanied by Ten Senators with Personifications of Fortune and Venice (1563), for which he received 225 ducats, was destroyed in the fire in the Doge's Palace of 1574. The work is known from a preparatory study (Berlin, Kupferstichkab.) and a contract of 22 October 1563. Five paintings known to have been in the Libreria Marciana that same year are also untraced. The large painting depicting the Adoration of the Dead Christ (Venice, S Giuseppe), signed and dated parrhasio Micheli dipinse nel 1573, includes a self-portrait. Micheli also painted portraits of Venetian noblemen (e.g. Girolamo Zane, Venice, Accademia; Tommaso Contarini, Venice, Doge's Palace) and associated with prominent men of letters including Paolo Giovio and Pietro Aretino.
Elizabeth Lyman Boott Duveneck
1846-1888 Elizabeth Lyman Boott Duveneck Gallery
Henrique Bernardelli
painted Portrait of the painter Pedro Weingartner in 1858 - 1936