1.
Cornelis Ketel
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He did however significantly influence the development of the largest type of painting commonly produced in the United Provinces at this period, the civic group portrait. Ketel was born out of wedlock in Gouda in 1548 and apprenticed to his uncle Cornelis Jacobsz and he is said to have been encouraged to pursue a career in painting by the stained glass painter Dirck Crabeth, whose brother Wouters wife may have been related to Ketel. He studied under Anthonie Blocklandt in Delft, c,1565, before travelling to Paris where he lived with Jean de la Hame, glass-painter to King Charles IX. He was forced to leave France in 1567 when all citizens of the Habsburg Netherlands were expelled, by 1573 Ketel is recorded in England, and was one of several exiled Netherlandish artists active at the Tudor court in the 1570s. His friend Carel van Mander notes his portrait of Sir Christopher Hatton, of the Earl of Oxford, in 1578, permission was granted for a portrait of Queen Elizabeth, when on a visit to the duchess of Somerset at Hamworth House. He also painted religious subjects. Cornelis van der Voort is thought to have been a pupil of Ketels, the Danish-born Pieter Isaacsz was certainly a pupil, and van Mander mentions others. The early 18th-century Gouda historian Ignatius Walvis says that the artist Wouter Pietersz, Crabeth, grandson and namesake of the glass-painter, studied under Ketel. Ketel suffered a stroke in 1613 and died in Amsterdam in 1616, Ketel quickly established himself as a successful painter of portraits in London. Hatton commissioned a portrait and Queen Elizabeth I sat to him in 1578, Ketels large output in these years, much of which is now lost, can be estimated by the quantity of his known commissions. In 1577 Ketel was commissioned to paint a series of 19 portraits for the Cathay Company, and several great paintings of the Inuit man Frobisher had brought back to England. Ketels self-portrait, which was engraved by Hendrick Bary, is in the Royal Collection, recently, a series of head-and-shoulders paintings of members of the family of Thomas Customer Smythe dated 1579, now widely dispersed, has been identified as the work of Cornelis Ketel. Painting in Tudor and Jacobean England 1530-1630, attribution as to title of this work, this may be the lost Triumph of Wisdom and Prudence over Force 1580, painted in England. Referred to as Allegory This painting is a fragment of a larger allegory of Power being overcome by Wisdom. Wisdom is no longer visible in the work, but Prudence is depicted in the form of a woman in a dress, holding a serpent. There are three kneeling or crouching men in front of her, all nude and thus stripped of their armour, the piece is pictured on the cover, and discussed in the text, of the Tate. A complete scholarly book was published with discussion on all the art. Allegory was pictured and described pp. 110-112 and this fragment, which was recently discovered, today forms, together with the reverse of no
2.
George Gower
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George Gower was an English portrait painter who became Serjeant Painter to Queen Elizabeth I in 1581. Very little is known about his life except that he was a grandson of Sir John Gower of Stittenham. His earliest documented works are the two 1573 companion portraits of Sir Thomas Kytson and his wife Lady Kytson, now in the Tate Gallery in London, Gower painted a self-portrait in 1579 that shows his coat of arms and his artists tools of his trade. An allegorical device shows a balance with an artists dividers outweighing the family coat of arms, Gower is also famous for painting the Plimpton Sieve Portrait of Queen Elizabeth in 1579, now at the Folger Shakespeare Library. The sieve that Elizabeth carries signifies the Roman vestal virgin Tuccia, the globe over her right shoulder symbolizes her position as the leader of global empire. Gower was appointed to the position of Serjeant Painter to Queen Elizabeth in 1581 and this allowed him to paint most of England’s aristocracy. The post also made him responsible for painted decoration at the royal residences, among his works were a fountain and the astronomical clock, both at Hampton Court Palace. He also inspected portraits of the Queen by other artists prior to their official release, all three extant versions are now thought to be the work of different unknown English artists. Artists of the Tudor court Portraiture of Elizabeth I Serjeant Painter Cooper, Tarnya and Charlotte Bolland, The Real Tudors, kings, London, National Portrait Gallery ISBN9781855144927 Biography of George Gower The National Maritime Museum Art Gallery. Accessed October 2007 Gower, George at the Union List of Artists Names, accessed October 2007 Portraits by Gower at the Tate Britain Gallery in London. Accessed October 2007 Hearn, Karen, ed. Dynasties, Painting in Tudor and Jacobean England 1530-1630
3.
Francesco Albani
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Francesco Albani or Albano was an Italian Baroque painter who was active in Bologna, Rome, Bologna, Viterbo, Bologna, Rome, Bologna, Mantova, Roma and Florence. He was born in Bologna in 1578, the son of a merchant who intended him to go into his own trade. By the age of twelve, however, Albani had become an apprentice to the competent mannerist painter Denis Calvaert and he soon followed Reni to the so-called Academy run by Annibale, Agostino, and Ludovico Carracci. In 1600, Albani moved to Rome to work on the decoration of the gallery of the Palazzo Farnese. At this time, Rome, under Clement VIII Aldobrandini was exhibiting some degree of administrative stability, Albani became one of Annibales most prominent apprentices. Using Annibales designs and assisted by Lanfranco and Sisto Badalocchio, Albani completed frescoes for the San Diego Chapel in San Giacomo degli Spagnoli between 1602 and 1607, in 1606-7, Albani completed the frescoes in the Palazzo Mattei di Giove in Rome. He later completed two other frescoes in the palace, also on the theme of Life of Joseph. In 1609, he completed the ceiling of a hall with Fall of Phaeton. This work was commissioned by Vincenzo Giustiniani, also famous as a patron of Caravaggio, during 1612-14, Albani completed the Choir frescoes at the church of Santa Maria della Pace which had just been remodelled by Pietro da Cortona. In 1616 he painted ceiling frescoes of Apollo and the Seasons at Palazzo Verospi in Via del Corso for the cardinal Fabrizio Verospi, Albanis best frescoes are those on mythological subjects. Among the best of his subjects are a St Sebastian. He was among the Italian painters to devote himself to painting cabinet pictures and his mythological subjects include The Sleeping Venus, Diana in the Bath, Danaë Reclining, Galatea on the Sea, and Europa on the Bull. A rare etching, the Death of Dido, is attributed to him, carlo Cignani, Andrea Sacchi, Francesco Mola, and Giovanni Francesco Grimaldi were among his students. Following the death of his wife he returned to Bologna, where he married a second time, while Albanis thematic would have appealed to Poussin, he lacked the Frenchmans muscular drama. His style sometimes seems to have more in common with the decorative Rococothan with the painting of his own time.5 x 224, petersburg Madonna with Child in Glory with Sts. Penguin Books, Pelican History of Art and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Albani, Francesco. Media related to Francesco Albani at Wikimedia Commons Francesco Albani in the History of Art} Francesco Albani Paitings Gallery
4.
Matteo Rosselli
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Matteo Rosselli was an Italian painter of the late Florentine Counter-Mannerism and early Baroque. He is best known however for his highly populated grand-manner historical paintings and he first apprenticed with Gregorio Pagani. On 26 February 1599, he was inducted to the Accademia del Disegno and he painted a Crucifixion now in the parish church at Scarperia. He painted a Last Supper now in Conservatorio di San Pier Martire, upon the French monarchs death, he was commissioned two commemorative paintings of events in the life of Henry IV, his visit to Nantes and Gaudabec. He also completed an Assumption for the church of San Domenico in Pistoia, in 1621, he was commissioned to paint a Triumph of David for the Pitti Palace, and a Lot and his Daughters and Tobias and Angel for the Galleria Corsini in Florence. Further decorations were commissioned by Leopoldo de Medici for the Casino di San Marco, Frederick II rebuilds the Port of Livorno, Leopoldo also commissioned from Rosselli a series of allegorical paintings for the Sala della Stufa in Palazzo Pitti. He frescoed in reception rooms of the Villa di Poggio Imperiale with scenes portraying European emperors amid biblical and historical scenes. He painted a Madonna of the Rosary for the Cathedral of Pietrasanta, the largest collection of Rosselli drawings is contained within the Louvre Museum, Paris, with many being preliminary sketches for other works. Among his many pupils were Baldassare Franceschini, Lorenzo Lippi, Francesco Furini, Giovanni da San Giovanni, pelican History of Art, Art and Architecture Italy, 1600–1750. Artnet biography from Grove Encyclopedia of Art Louvre Museum, Collection of works by Matteo Rosselli
5.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
6.
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
7.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Francisco Lopez-Caro". Catholic Encyclopedia. New York: Robert Appleton.
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