1.
1562 in art
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In Venice, sumptuary laws decree that all gondolas must be painted black to prevent lavish displays of wealth. Giorgio Vasari, who had work on the Uffizi in Florence in 1560. Paolo Veronese begins painting The Wedding at Cana, the Medici court astronomer Fra Ignazio Danti paints maps at the Palazzo Vecchio. Tintoretto begins the three paintings of the miracles of St. Mark for the Scuola di San Marco, flemish artist Hieronymus Cock and Spanish cartographer Diego Gutiérrez produce the map Americae Sive Quartae Orbis Partis Nova Et Exactissima Descriptio. Pieter Brueghel the Elder paints The Triumph of Death and Dull Gret, titian paints The Death of Actaeon and The Rape of Europa. Ludger Tom Ring the Younger paints a pair of pictures of iris
2.
1563 in art
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January 13 – The Accademia e Compagnia delle Arti del Disegno is established in Florence by Cosimo I de Medici, Grand Duke of Tuscany, under the influence of Giorgio Vasari. December 4 – The Council of Trent issues a decree on the function of Roman Catholic art. Date unknown - The Medici court astronomer Fra Ignazio Danti paints 57 maps at the Palazzo Vecchio in Florence, giuseppe Arcimboldo paints his first The Four Seasons series. Pieter Brueghel the Elder paints Landscape with the Flight into Egypt, niccolò Circignani paints the Concert in the Government Room of the Città della Pieve in Umbria. Lucas de Heere paints a portrait of Mary, Queen of Scots, giovanni Battista Moroni paints The Count Pietro Secco Suardo. Francesco Primaticcio paints Odysseus and Penelope, bernaert de Rijckere paints a portrait diptych of Antwerp merchant Adriaan van Santvoort and his family. Paolo Veronese completes painting The Wedding at Cana
3.
1565 in art
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September - Titian goes to Cadore to design decorations for the church at Pieve, which will be partly executed by his pupils. Pieter Bruegel the Elder paints the cycle of the seasons The Hunters in the Snow in the Kunsthistorisches Museum, the Gloomy Day in the Kunsthistorisches Museum. The Harvesters in the Metropolitan Museum of Art of New York, the Return of the Herd in the Kunsthistorisches Museum. Winter Landscape with Skaters and Bird Trap, Christ and the Woman Taken in Adultery. Lucas Cranach the Younger paints the Altarpiece of the Reformers in Dessau, sebastiano Filippi paints Birth of the Virgin. Tintoretto begins painting the cycle of the life of Christ, including Crucifixion, venus Blindfolding Cupid at about this date. Giorgio Vasari paints the frescoes on the walls of the Palazzo Vecchio representing scenes of the Austrian Habsburg estates, paolo Veronese paints the Allegory of Virtue and Vice and Wisdom and Strength in Venice, Italy
4.
1560s in architecture
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1560 Villa Foscari, one of the Palladian villas of the Veneto, is completed. Wat Xieng Thong Buddhist temple at Luang Prabang in the kingdom of Lan Xang is completed, Construction of the Uffizi in Florence, designed by Giorgio Vasari, begins. Construction of Mexico City Cathedral begins,1561 Saint Basils Cathedral, Moscow, designed by Postnik Yakovlev, is completed. The Tian Yi Ge library in Ningbo is established, 1562–64 Façade of the church of San Francesco della Vigna in Venice, designed by Andrea Palladio, is built. Church of Santa Maria degli Angeli e dei Martiri in Rome, 1562–67 - Church of San Pedro and San Pablo, Zacatlán, Sierra Norte de Puebla, Mexico, is built. 1562 - Dome of Basilica of Our Lady of Humility, Pistoia, Tuscany,1563 - Construction of El Escorial palace in Spain, designed by Juan de Herrera, begins. 1564 Vasari Corridor in Florence, designed by Giorgio Vasari, is built, somersal Herbert Hall near Ashbourne, Derbyshire, England, is built. 1565–66 Church of San Giorgio Maggiore in Venice is designed by Palladio, temple of Haw Phra Kaew in Vientiane, Laos, is built. 1565–69 - Church of Santo Stefano dei Cavalieri, Pisa, designed by Giorgio Vasari, is built,1566 The Tomb of Humayun in Delhi, India is completed. Construction of the city of Valletta on Malta, designed by Francesco Laparelli, 1566–67 - Stari Most bridge crossing the Neretva at Mostar in the Ottoman Empire, built by Mimar Hayruddin, is completed. 1567 First Royal Exchange, London, completed as the Bourse, Construction of Villa Capra La Rotonda in Vicenza, designed by Andrea Palladio, begins. 1568 The Palace of Charles V in Madrid, Spain, is completed, Construction begins of, Church of the Gesù in Rome, designed by Giacomo Barozzi da Vignola. Selimiye Mosque in Edirne, Turkey, designed by Mimar Sinan, longleat House in England, designed by Robert Smythson. 1562, Giacomo Barozzi da Vignola - Publication of Regola delli cinque ordini darchitettura,1563, John Shute - Publication of The First and Chief Groundes of Architecture, the first work in English on architecture. 1568, Giorgio Vasari - Second, enlarged, edition published of Le Vite delle più eccellenti pittori, scultori, ed architettori
5.
Giorgio Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
6.
Uffizi
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The Uffizi Gallery is a prominent art museum located adjacent to the Piazza della Signoria in central Florence, region of Tuscany, Italy. The building of Uffizi complex was begun by Giorgio Vasari in 1560 for Cosimo I de Medici so as to accommodate the offices of the Florentine magistrates, hence the name uffizi, the construction was later continued by Alfonso Parigi and Bernardo Buontalenti and completed in 1581. The niches in the piers that alternate with columns filled with sculptures of artists in the 19th century. The Uffizi brought together under one roof the administrative offices, the Tribunal and the Archivio di Stato, the state archive. He commissioned from the architect Buontalenti the design of the Tribuna degli Uffizi that collected a series of masterpieces in one room, over the years, more sections of the palace were recruited to exhibit paintings and sculpture collected or commissioned by the Medici. The gallery had been open to visitors by request since the sixteenth century, because of its huge collection, some of its works have in the past been transferred to other museums in Florence—for example, some famous statues to the Bargello. A project was finished in 2006 to expand the exhibition space some 6,000 metres² to almost 13,000 metres². On 27 May 1993, a car exploded in Via dei Georgofili and damaged parts of the palace. The most severe damage was to the Niobe room and classical sculptures and neoclassical interior, the identity of the bomber or bombers are unknown, although it was almost certainly attributable to the Sicilian Mafia who were engaged in a period of terrorism at that time. Today, the Uffizi is one of the most popular tourist attractions of Florence, in high season, waiting times can be up to five hours. In early August 2007, Florence experienced a heavy rainstorm, the Gallery was partially flooded, with water leaking through the ceiling, and the visitors had to be evacuated. There was a more significant flood in 1966 which damaged most of the art collections in Florence severely. Here is a selection from the collection, The collection also contains some ancient sculptures, such as the Arrotino. Collections of the Uffizi Official website Uffizi – Google Art Project
7.
Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
8.
Cosimo I de' Medici, Grand Duke of Tuscany
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Cosimo I de Medici was the second Duke of Florence from 1537 until 1569, when he became the first Grand Duke of Tuscany. Cosimo was born in Florence, on 12 June 1519, the son of the famous condottiere Giovanni dalle Bande Nere from Forlì and he was the grandson of Caterina Sforza, the Countess of Forlì and Lady of Imola. Cosimo came to power at 17, when the 26-year-old Duke, Alessandro de Medici, was assassinated in 1537, Cosimo was from a different branch of the family, and so far had lived in Mugello, and was almost unknown in Florence. However, many of the men in the city favoured him. Several hoped to rule through him, thereby enriching themselves at the states expense, however, as Benedetto Varchi famously put it The innkeepers reckoning was different from the gluttons. Cosimo proved strong-willed, astute and ambitious, and soon rejected the clause he had signed, when the Florentine exiles heard of the death of Alessandro, they marshalled their forces with support from France and from disgruntled neighbors of Florence. During this time, Cosimo had a daughter, Bia. Toward the end of July 1537, the exiles marched into Tuscany under the leadership of Bernardo Salviati and Piero Strozzi. When Cosimo heard of their approach, he sent his best troops under Alessandro Vitelli to engage the enemy, which they did at Montemurlo, after defeating the exiles army, Vitelli stormed the fortress, where Strozzi and a few of his companions had retreated to safety. It fell after only a few hours, and Cosimo celebrated his first victory, the prominent prisoners were subsequently beheaded on the Piazza or in the Bargello. Filippo Strozzis body was found with a sword next to it and a note quoting Virgil. In June 1537 Cosimo had sent Bernardo Antonio de Medici to Charles V to gain his recognition as head of the Florentine state and that recognition came in June 1537, in exchange for help against France in the course of the Italian Wars. With this move Cosimo firmly restored the power of the Medici, the help granted to Charles V allowed him to free Tuscany from the Imperial garrisons, and to increase as much as possible its independence from the overwhelming Spanish influence in Italy. With the support of the Emperor, he defeated the Sienese at the Battle of Marciano, despite the inhabitants desperate resistance, on 17 April 1555, after a 15-month siege, the city fell, its population diminished from forty thousand to eight thousand. In 1559 Montalcino, the last redoubt of Sienese independence, was annexed to Cosimos territories, in 1569, Pope Pius V elevated him to the rank of Grand Duke of Tuscany. In the last 10 years of his reign, struck by the death of two of his sons by malaria, Cosimo gave up the rule to his son and successor Francesco I de Medici. He retreated to live in his villa, Villa di Castello, Cosimo was an authoritarian ruler and secured his position by employing a guard of Swiss mercenaries. In 1548 he managed to have his relative Lorenzino, the last Medici claimant to Florence, Cosimo also was an active builder of military structures, in an attempt to save his state from the frequent passage of foreign armies
9.
Pieter Bruegel the Elder
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He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp and he does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. He is sometimes referred to as Peasant Bruegel, to him from the many later painters in his family. From 1559, he dropped the h from his name and signed his paintings as Bruegel, the two main early sources for Bruegels biography are Lodovico Guicciardinis account of the Low Countries and Karel van Manders 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called Brueghel, nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegels peasant genre scenes given by van Mander and many art historians. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, from the fact that Bruegel entered the Antwerp painters guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. Bruegel possibly got this work via the connections of Mayken Verhulst, maykens father and eight siblings were all artists or married an artist, and lived in Mechelen. In 1551 Bruegel became a master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the tip of the mainland. He probably continued to Sicily, but by 1553 was back in Rome, there he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel, in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel, with one exception, Bruegel did not work the plates himself, but produced a drawing which Cocks specialists worked from. In 1563 he was married in Brussels, where he lived for the rest of his life, while Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to him from his established servant girl mistress. By now painting had become his main activity, and his most famous come from these years. His paintings were sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief minister
10.
Children's Games (Bruegel)
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Childrens Games is an oil-on-panel by Flemish renaissance artist Pieter Bruegel the Elder, painted in 1560. It is currently held and exhibited at the Kunsthistorisches Museum in Vienna and this painting, mentioned for the first time by Karel van Mander in 1604, was acquired in 1594 by Archduke Ernest of Austria. It has been suggested that it was the first in a series of paintings representing the Ages of Man. If that was Bruegels intention, it is unlikely that the series progressed beyond this painting and this crowded scene is to some extent relieved by the landscape in the top left-hand corner, but even here children are bathing in the river and playing on its banks. His moral is that in the mind of God childrens games possess as much significance as the activities of their parents
11.
Vicente Juan Masip
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Vicente Juan Masip (also known as Joan de Joanes was a Spanish painter of the Renaissance period. He is commonly considered the foremost member of the Valencian school of painters and his father was Vicente Masip, and his son was Vicente Masip Comes, known as Vicent de Joanes, who imitated his style. His two daughters, Dorotea Joanes and Margarita Joanes, were also painters and his most prominent pupil was Nicolas Borras. Furthermore, two Italian painters Paolo da San Leocadio and Francesco Pagano, were engaged by cardinal Rodrigo Borgia for painting in Valencia Cathedral. Otherwise, the part of his professional life was spent in the city of Valencia. All relate to religious subjects, and are characterized by dignity of conception, accuracy of drawing, beauty of color and he died at Bocairent while working on an altarpiece in the church there. Since his name Macip made him sound like a laborer, he adopted the name of Joan de Joanes, and he painted a Raphaelesque Holy Family for the sacristy in the Cathedral of Valencia. He never painted a profane subject, and emulated Luis de Vargas and Fra Angelico, painting for him was a solemn exercise, an oratory process, full of prayers and fasts. He never lacked church patronage, the archbishop of Valencia, St. Thomas of Villanova, among his best works is the Immaculate Conception painted for the Jesuit church, supposedly inspired by a revelation undergone by the painters confessor, Father Martin Alberto. This article incorporates text from a now in the public domain, Chisholm, Hugh. Catálogo Descriptivo e Histórico del Museo del Prado de Madrid, calle del Duque de Osuna #3, Original from Oxford University, Digitized May 1,2007, M. Rivadeneyra. Vicente Juan Masip at the Web Gallery of Art
12.
Maso da San Friano
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Maso da San Friano was an Italian painter active in Florence. His real name was Tomaso DAntonio Manzuoli and he was born in San Friano and died in Florence. According to Giorgio Vasari, Maso was a pupil of Pier Francesco Foschi while others claim it was Carlo Portelli and he collaborated with an elder Michelangelo on some projects. His altarpiece of the Visitation was painted in 1560 for the church of San Pier Maggiore, Florence - now in Trinity Hall Chapel, Cambridge, a similar work can be seen in the Prato cathedral. After 1561, he painted in the church of Ognissanti, Florence and he participated in the decoration of the Studiolo of Francesco I with an oval canvas relating the Fall of Icarus story. The canvas has an affected milling in individuals below and an anomalous perspective and his second contribution Mining of Diamonds. A portrait of Ferdinando I de Medici by Maso can be found in the Town Council Hall of Prato and he is regarded as part of the Counter-Maniera or Counter-Mannerism movement in Florence. His most important pupils were Jacopo da Empoli and Alessandro Fei, one of his paintings, thought to be of Cosimo I de Medici in 1560, is believed to be the oldest to show a watch. Freedberg, Sydney J. Pelican History of Art, ed, three Notes on Maso da San Friano
13.
Antonis Mor
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For the musician, see Anthony More. Sir Anthonis Mor, also known as Anthonis Mor van Dashorst and Antonio Moro was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also referred to as Antoon, Anthonius, Anthonis or Mor van Dashorst. Mor was born in Utrecht, Netherlands, by some estimation between 1516 and 1520, little is known about his early life, except that his artistic education commenced under Jan van Scorel. His earliest known work is a portrait which is currently in a collection in Stockholm, a group of Knights of St. Between 1549 and 1550 Prince Philip II of Spain traveled around the Netherlands to present himself as the future ruler, Anthonis Mor painted his portrait in Brussels in 1549. He probably visited Italy, where he copied works by Titian. In the middle of 1550 Anthonis Mor left for Lisbon with a commission from Maria of Hungary to portray the Portuguese branch of the family. Mor probably traveled via Valladolid, where he painted the portraits of Maximilian II and his wife Maria of Austria, their daughter Anna, in Lisbon, Mor portrayed King João, Queen Catharina, Prince João and Philip’s future wife, Princess Maria of Portugal. Little more is known about Mors stay in Portugal, but he was back in Brussels by November 1553. After the sudden death of the king of England, Edward VI, in July 1553, the engagement between Philip and his Portuguese princess was broken and negotiations started for a marriage with the successor to the English throne, Mary Tudor. During these negotiations, Anthonis Mor was sent to England to paint a portrait of Mary and this portrait was much appreciated in England and Mor made at least three versions, which became much the best-known likeness of the queen. On 20 December 1553, Philip officially appointed Mor as painter in his service, in October 1555, Charles V abdicated from the throne. During the ceremonies and festivities surrounding the coronation of his son Philip as king of Spain, unfortunately, many of these paintings are lost or only known through copies. Following the death of Mary Tudor in 1558, King Philip was remarried in June 1559 to Isabella de Valois and this portrait appears to have been lost. Also from this period dates the only known self-portrait of Mor, now in the Uffizi Gallery and it seems likely that Anthonis Mor accompanied King Philip on his return to Spain in 1559. That Mor stayed at the Spanish court is confirmed by the letters which Philip regularly sent to Mor after he had left again in 1561, in his letters, Philip requested Mors return to court several times, but the painter never complied with his repeated requests. Among the works which Mor supposedly painted in Spain are the Portrait of Juana of Austria, a much-praised work from this period is the Portrait of Pejerón, the fool of the Earl of Benavente and the Duke of Alba
14.
Jan van Scorel
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Jan van Scorel was a Dutch painter, who played a leading role in introducing aspects of Italian Renaissance painting into Dutch and Flemish Renaissance painting. Van Scorel was one of the painters of the Romanist style who had spent a number of years in Italy. His trip to Italy coincided with the reign of the only Dutch pope in history. The pope made him a painter and superintendent of his collection of antiquities. His stay in Italy lasted from 1518 to 1524 and he also visited Nuremberg, Venice and Jerusalem. Venetian art had an important impact on the development of his style and he differed from most Romanists in that he was a native of the northern Netherlands and not of Flanders and that he remained most of his life in the northern Netherlands. He settled permanently in Utrecht in 1530 and established a workshop on the Italian model. The workshop mainly produced altarpieces, many of which were destroyed in the Reformation iconoclasm in the years just after his death and this did not stop him from having a long-time relationship with a mistress who may have modelled for some of his female figures. Van Scorel was born in Schoorl, north of Alkmaar and close to Egmond Abbey, van Scorel is recorded in Haarlem in 1517 where he perhaps collaborated with his contemporary Maarten van Heemskerck, who like him, had been born close to Alkmaar. In 1524 Jan Gossaert is recorded at Duurstede Castle, near Utrecht, van Scorel began traveling through Europe in his early twenties after visiting Utrecht. In 1518-22 he is registered in Venice, and along the way, heading to Nuremberg, in the village of Obervellach in 1520, he completed his first representative work, the Sippenaltar in St. Martins church. Giorgione was an influence on van Scorel during his tenure in Venice. After leaving Venice, van Scorel was in Rome from 1522 to 1524 and his experiences in Jerusalem are depicted in many of his later works. Perhaps van Scorels example encouraged van Heemskerck to travel to Rome himself later, in 1521, van Scorel returned to Rome where he met the Dutch pope Pope Adrian VI, who he may have met earlier in Utrecht. The pope appointed him painter to the Vatican, the pope sat for a portrait by van Scorel. Van Scorel underwent the influence of Michelangelo and Raphael and succeeded Raphael as Keeper of the Belvedere, upon his return to the Netherlands in 1524, he settled in Utrecht where he began a successful career as a painter and a teacher. Van Scorel was an educated man and skilled as an engineer. He was also multi-lingual, no doubt as a result of his travels and he made the plans for building a polder in his native North Holland, called the Zijpe- en Hazepolder, that was later financed by his friend from Antwerp, the merchant Servaes de Haese
15.
Steven van der Meulen
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Steven van der Meulen was a Flemish artist active c. He gained prominence in England in the first decade of the reign of Elizabeth I as one of many Flemish artists active at the Tudor court. He is best known for the Barrington Park portrait type of Elizabeth I, a recently discovered will indicates that he died in London between October 1563 and January 1564. Little is known about van der Meulens personal life and his father was Rinnold van der Meulen. He was probably born in Antwerp, where he studied under Willem van Cleve the Younger in 1543 and was admitted to the Guild of St Luke in 1552. He was in London by September 1560, is recorded as a member of the Dutch congregation there in June 1562 and it is generally accepted that this was van der Meulen. In 1935, W. G. Constable identified this portrait with a full-length of Erik XIV at Gripsholm Castle, Mariefred, near Stockholm. Scholar Elizabeth Drey has recently discovered van der Meulens will, dated 5 October 1563 during an epidemic of the plague in London and his will indicates that his wife Gertrude Stubbeleeren and children Rinnold and Eric were resident in London with him at the time of his death. A portrait pattern of Queen Elizabeth dating to the mid-1560s is confidently attributed to van der Meulen, a life-size portrait of this type c.6 million, more than twice its expected price of £700, 000–£1 million. The discovery of van der Meulens will dated 1563 and proved in 1564 has raised questions about the identification of the paynter Steven, in the Spring 2009 issue of The British Art Journal Bendor Grosvenor proposed an alternative identification of the painter Steven with the medallist Steven van Herwijck. In her 2014 study of the portraiture and patronage of Robert Dudley, 1st Earl of Leicester, of the identification of the painter, the NPG says The style of painting is consistent with an Anglo-Netherlandish artist from this period. However, as van der Meulen and van Herwijck died in the 1560s the artist responsible for NPG5262 must remain as an as yet unidentified émigré. A New Work by The Famous Paynter Steven, Painting and patronage at the Elizabethan court, Robert Dudley, Earl of Leicester, and his world. The identity of the famous paynter Steven, Not Steven van der Meulen but Steven van Herwijck, hearn, Karen, ed. Dynasties, Painting in Tudor and Jacobean England 1530-1630. The English Icon, Elizabethan and Jacobean Portraiture, Routledge & Kegan Paul, London Waterhouse, New Haven, Yale University Press/Pelican History of Art,1994 edition. 7 Painting by or after Steven van der Meulen at the Art UK site
16.
Karel van Mander
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Karel van Mander or Carel van Mander I was a Flemish painter, poet, art historian and art theoretician, who established himself in the Dutch Republic in the latter part of his life. He is mainly remembered as a biographer of Early Netherlandish painters, as an artist and art theoretician he played a significant role in the spread and development of Northern Mannerism in the Dutch Republic. It is not certain who wrote this sketch and various candidates have been proposed. Most recently it has argued that it was written by his son Karel van Mander the Younger. His son would have relied on information that Karel van Mander had written himself as well as on his own recollections. The information in the sketch is not entirely reliable but is still regarded as the best source of information on van Manders life. Van Mander was born into a family in Meulebeke, in the County of Flanders. He studied under Lucas de Heere in Ghent, and in 1568-1569 under Pieter Vlerick in Kortrijk, the next five years he devoted to the writing of religious plays for which he also painted the scenery. Then followed three years in Rome and his biographical sketch refers to van Mander as the discoverer of caves in Rome. This may be a reference to the Catacombs of Rome although the meaning of the reference is unclear. In Rome he may also have come into contact with fellow Fleming Bartholomeus Spranger and his patrons in Rome included several cardinals. On his return journey he passed through Vienna, where, together with Spranger, van Mander settled in Meulebeke in 1578 where he was active as a painter and writer. He married an 18-year-old local girl, with whom he had a son, in 1580 he left for Kortrijk due to religious troubles caused by Catholic zealots in Meulebeke. Karel van Mander had at some point become a Mennonite and was therefore a target of these zealots. In Kortrijk he got a commission for an altar piece, in Kortrijk another son was born. He left Kortrijk for Bruges in 1582 because of an outbreak of the plague, in Bruges, he worked with the painter Paul Weyts. Here he worked for 20 years on a commission by the Haarlem city fathers to inventory their art collection, the city of Haarlem had confiscated all Catholic religious art after the satisfactie van Haarlem, which gave Catholics equal rights to Protestants, had been overturned in 1578. Van Mander used his work on the commission in his Schilder-boeck, while in Haarlem he continued to paint, concentrating his energy on his favourite genre, historical allegories
17.
Annibale Carracci
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Annibale Carracci was an Italian painter, active in Bologna and later in Rome. Painters working under Annibale at the gallery of the Palazzo Farnese would be influential in Roman painting for decades. Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family, in 1582, Annibale, his brother Agostino and his cousin Ludovico Carracci opened a painters studio, initially called by some the Academy of the Desiderosi and subsequently the Incamminati. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or Bolognese School, in many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each. For example, the frescoes on the story of Jason for Palazzo Fava in Bologna are signed Carracci, in 1585, Annibale completed an altarpiece of the Baptism of Christ for the church of Santi Gregorio e Siro in Bologna. In 1587, he painted the Assumption for the church of San Rocco in Reggio Emilia, in 1587–88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the Founding of Rome for Palazzo Magnani in Bologna, by 1593, Annibale had completed an altarpiece, Virgin on the throne with St John and St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ also dates from 1593, in 1592, he painted an Assumption for the Bonasoni chapel in San Francesco. During 1593-94, all three Carraccis were working on frescoes in Palazzo Sampieri in Bologna and his work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli. Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the masterpiece of fresco painting for its age. On the other hand, while admitting Caravaggios talents as a painter, Bellori deplored his over-naturalistic style, if not his turbulent morals and he thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers, yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess Vincenzo Giustiniani, found both applied showed excellence in maniera and modeling, in our century, observers have warmed to the rebel myth of Caravaggio, and often ignore the profound influence on art that Carracci had. Caravaggio almost never worked in fresco, regarded as the test of a great painters mettle, on the other hand, Carraccis best works are in fresco. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited to the contemplative altars, wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a considerable relaxation of counter-reformatory morality. This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggios canvases, wittkower states Carraccis frescoes convey the impression of a tremendous joie de vivre, a new blossoming of vitality and of an energy long repressed. It is instructive to compare Carraccis Assumption with Caravaggios Death of the Virgin, among early contemporaries, Carracci would have been an innovator. He re-enlivened Michelangelos visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, while Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance
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Giovanni Balducci
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Giovanni Balducci, called Il Cosci after his maternal uncle, was an Italian mannerist painter. He was born in Florence, he was trained by Giovanni Battista Naldini and he also frescoed a Last Supper in the church. During this time, Balducci also painted an altarpiece of the Mystical Marriage of St Catherine for the church of SantAgostino in San Gimignano, from 1577-1580, he aided Naldini in the fresco decoration of the Altoviti Chapel in the church of Trinità dei Monti in Rome. He returned to Florence, to assist Alessandro Allori in the also uninspired decoration of Vasaris Gallery for the Uffizi, from 1590-1591, he worked with Naldini in the decoration of Volterra Cathedral, painting a Miracle of Loaves and Fish For the Serguidi Chapel. By 1600, Balducci had moved to Naples where he painted altarpieces of St Dominic dispense the Rosary and he painted the Pardon of Carlo Gesualdo now in the church of Santa Maria delle Grazie in Gesualdo in the province of Avellino. He painted a number of frescoes in the cloister of Santa Maria del Carmine and he also frescoed ceilings for the church of the Annunziata in Maddaloni. Balducci has paintings in collections including two in the United Kingdom. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons. Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, gaetano Schiepatti, Digitized by Googlebooks, Jan 24,2007
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Mannerism
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Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
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Bartolomeo Carducci
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Bartolomeo Carducci was an Italian painter, better known as Carducho, the Spanish corruption of his Italian patronymic. He was born in Florence, where he studied architecture and sculpture under Bartolomeo Ammanati and he assisted Zuccari and Giorgio Vasari in the decoration of the cupola of the Duomo of Florence. The latter master he accompanied to Madrid, where he painted the ceiling of the Escorial library and his brother, Vincenzo Carducci also aided in the work, and succeeded him as chief painter to King Philip III of Spain. He died in Spain, where most of his works are to be found, among the most celebrated of them is a Descent from the Cross, in the church of San Felipe el Real, in Madrid. Among his pupils was Francisco López and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. Bartolomeo and Vincenzo Carducci
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1608 in art
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Events from the year 1608 in art. August - Caravaggio is arrested and imprisoned for his part in a brawl and he subsequently escapes and flees Malta. Hendrick Avercamp moves from Amsterdam to Kampen, mesrop of Khizan paints a Gospel
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Wenceslas Cobergher
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Wenceslas Cobergher, sometimes called Wenzel Coebergher, was a Flemish Renaissance architect, engineer, painter, antiquarian, numismatist and economist. Faded somewhat into the background as a painter, he is remembered today as the man responsible for the draining of the Moëres on the Franco-Belgian border. He is also one of the fathers of the Flemish Baroque style of architecture in the Southern Netherlands, born in Antwerp, probably in 1560, he was a natural child of Wenceslas Coeberger and Catharina Raems, which was attested by deed in May 1579. His name is written as Wenceslaus, Wensel or Wenzel, his surname is sometimes recorded as Coberger, Cobergher, Coebergher. Before being known as an engineer, Cobergher began his career as a painter, in 1573 he started his studies in Antwerp as an apprentice to the painter Marten de Vos. Following the example of his master, Cobergher left for Italy in 1579, trying to fulfil the dream of every artist to study Italian art and culture. On his way there he stayed briefly in Paris, where he learned about his birth from seeing the will of his deceased mother. He returned to Antwerp right away to some legal matters relating to this discovery. Later in the year, he set forth again to Italy and he settled in Naples in 1580 and remained there till 1597. In Naples he worked under contract for eight ducats together with the Flemish painter and he returned briefly to Antwerp in 1583, buying goods with borrowed money for his second trip to Italy. He is mentioned again in Naples in 1588, in 1591 he allied himself with another compatriot, the painter Jacob Franckaert the elder. He moved to Rome in 1597, during that time he had also been preparing a numismatic book in the tradition of Hendrik Goltzius. He must also have built up a reputation as an art connoisseur, since in 1598 he was asked to make an inventory and he would have nine children with his second wife, while his first marriage had remained childless. During his stay in Rome Cobergher became much interested in the study of Roman antiquities, antique architecture and he was also much interested in the way in which Romans represented their gods in paintings, bronze and marble statues, bas-reliefs and on antique coins. He gathered an important collection of coins and medals from the Roman emperors and these drawings and descriptions were gathered in a set of manuscripts, two of which survive. He was also preparing an anthology of the Roman Antiquity that was never published, sometimes the Tractatus de pictura antiqua has been ascribed to Cobergher, but this was based on an erroneous reading of an 18th-century catalogue. At the same time he was witness to the completion of the dome of St. Peters Basilica in 1590 and he would use their design in his later constructions. During his stay in Italy he painted, under the name maestro Vincenzo and his style is somewhat mixed, incorporating Classical and Mannerist elements
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Flanders
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Flanders is the Dutch-speaking northern portion of Belgium, although there are several overlapping definitions, including ones related to culture, language, politics and history. It is one of the communities, regions and language areas of Belgium, the demonym associated with Flanders is Fleming, while the corresponding adjective is Flemish. The official capital of Flanders is Brussels, although Brussels itself has an independent regional government, in historical contexts, Flanders originally refers to the County of Flanders, which around AD1000 stretched from the Strait of Dover to the Scheldt estuary. In accordance with late 20th century Belgian state reforms the area was made two political entities, the Flemish Community and the Flemish Region. These entities were merged, although geographically the Flemish Community, which has a cultural mandate, covers Brussels. Flanders has figured prominently in European history, as a consequence, a very sophisticated culture developed, with impressive achievements in the arts and architecture, rivaling those of northern Italy. Belgium was one of the centres of the 19th century industrial revolution, geographically, Flanders is generally flat, and has a small section of coast on the North Sea. Much of Flanders is agriculturally fertile and densely populated, with a density of almost 500 people per square kilometer. It touches France to the west near the coast, and borders the Netherlands to the north and east, the Brussels Capital Region is an enclave within the Flemish Region. Flanders has exclaves of its own, Voeren in the east is between Wallonia and the Netherlands and Baarle-Hertog in the consists of 22 exclaves surrounded by the Netherlands. It comprises 6.5 million Belgians who consider Dutch to be their mother tongue, the political subdivisions of Belgium, the Flemish Region and the Flemish Community. The first does not comprise Brussels, whereas the latter does comprise the Dutch-speaking inhabitants of Brussels, the political institutions that govern both subdivisions, the operative body Flemish Government and the legislative organ Flemish Parliament. The two westernmost provinces of the Flemish Region, West Flanders and East Flanders, forming the central portion of the historic County of Flanders, a feudal territory that existed from the 8th century until its absorption by the French First Republic. Until the 1600s, this county also extended over parts of France, one of the regions conquered by the French in Flanders, namely French Flanders in the Nord department. French Flanders can be divided into two regions, Walloon Flanders and Maritime Flanders. The first region was predominantly French-speaking already in the 1600s, the latter became so in the 20th century, the city of Lille identifies itself as Flemish, and this is reflected, for instance, in the name of its local railway station TGV Lille Flandres. The region conquered by the Dutch Republic in Flanders, now part of the Dutch province of Zeeland, the significance of the County of Flanders and its counts eroded through time, but the designation remained in a very broad sense. In the Early modern period, the term Flanders was associated with the part of the Low Countries
