Italian Early Renaissance Painter, ca.1390-1450  Related Paintings of SASSETTA :. | The Legend of the Wolf of Gubbio | Madonna and Child Enthroned with Four Angels and SS.John the Baptist,Peter,Francis,and Paul | Madonna and Child Enthroned with Four Angels and SS.John the Baptist,Peter,Francis,and Paul | Miracle of the Eucharisty | Saint Francis of Assisi Renouncing his Earthly Father (nn03) |
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Ventura Salimbeni
(also later called Bevilacqua; 20 January 1568 - 1613) was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance. Salimbeni was born in Siena. He studied painting, together with his half-brother Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena, He possibly spent some time,in Northern Italy and then moved to Rome in 1588 to work, together with others, on the fresco painting of the Vatican Library under pope Sixtus V. During 1590-1591, he got a commission by Cardinal Bonifazio Bevilacqua Aldobrandini for paintings in the Roman Jesuit Church of the Gese and the Basilica di Santa Maria Maggiore. These paintings show the influence of the Mannerist Cavalier D'Arpino and Andrea Lillio. Salimbeni returned to Siena in 1595. Here he became one of the last leaders of the Mannerist school, in this period between Mannerism and Baroque. He was here influenced by Federico Barocci as can be seen in the draperies, highlighted with abrupt changes of light and flickering surfaces, of his painting "Birth of a Virgin" in the San Domenico church in Ferrara (1607-1608). He completed painting cycles (1595-1602) for Sienese churches such as the oratory in the Santa Trinite. He is known for detailed preparatory drawings, most of which are now in the Uffizi in Florence or the Fine Arts Museum of San Francisco. He started around 1600 painting the scenes from the "Life of St. Hyacinth" for the Sienese church of Santo Spirito. These paintings show the awkward perspective of the style of the Sienese Mannerist painter Beccafumi in the backdrop of buildings and landscape. In Siena, Salimbeni completed several painting cycles for the church of Santo Spirito. He continued to create paintings for churches throughout Italy, including Florence. At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist. At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli. Salimbeni got in 1603 the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinite, he worked here alongside with the painter Alessandro Casolari. This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys" (1599), the "Disputa of the Eucharist" (1600) and the "Crucifixion" (1604). At the same time he was painting the "Vision of Gregory the great" and the "Punishment of David" in the Basilica of San Pietro in Perugia. The papal legate, cardinal Bonifazio Bevilacqua (1571-1627), who had commissioned these paintings, was so pleased that he invested Ventura Salimbeni with the Order of the Golden Spur, a very selective papal order. He was even authorized from now on to name himself Cavalieri Bevilacqua. He painted the canvas of the Ascension of the Virgin (1607) for San Frediano in Pisa. In 1612 he painted the "Life of Saint Galganus" for the Chiesa del Santuccio in Siena with the hermit saint set in a wooded landscape. His last work of art was the oil painting the "Marriage of the Virgin" for the Seminario diocesano in Foligno in 1613.
Justus van Gent
(or Joos van Wassenhove), Justus or Jodocus of Ghent, or Giusto da Guanto (c. 1410 - c. 1480) was an Early Netherlandish painter who later worked in Italy. The public records of the city of Ghent have been diligently searched, but in vain, for a clue to the history of Justus or Jodocus, whom Vasari and Guicciardini called Giusto da Guanto. Flemish annalists of the 16th century have enlarged upon the scanty, unsourced statements of Vasari, and described Jodocus as a pupil of Hubert van Eyck. The registers of the Guild of St Luke at Ghent comprise six masters of the name of Joos or Jodocus who practised at Ghent in the 15th century. But none of the works of these masters has been preserved, and it is impossible to compare their style with that of Giusto. Federico da Montefeltro and His Son, GuidobaldoBetween 1465 and 1474, this artist executed the Communion of the Apostles which Vasari described, and which is now in the Galleria Nazionale delle Marche in Urbino. It was painted for the brotherhood of Corpus Christi at the bidding of Frederick of Montefeltro, who was introduced into the picture as the companion of Caterino Zeno, a Persian envoy at that time on a mission to the court of Urbino. From this curious production it may be seen that Giusto, far from being a pupil of the putative Hubert Van Eyck, must have been studied with a later master, possibly Dieric Bouts. As a composer and draughtsman Giusto compares unfavourably with the better-known painters of Flanders; though his portraits are good, his ideal figures are not remarkable for subtlety of character and expression. Technically, he compares on a level with that of Geertgen tot Sint Jans, whose most famous pictures are preserved in the Kunsthistorisches Museum at Vienna. Vespasian, a Florentine bookseller who contributed much to form the antiquarian taste of Frederick of Montefeltro, states that this duke sent to the Netherlands for a capable artist to paint a series of ancient worthies for a library recently erected in the palace of Urbino. It has been conjectured that the author of these 28 portraits of "Famous Men," which are still in existence at the Louvre and in the Galleria Nazionale delle Marche at Urbino, was Justus van Gent. Seven (?) Liberal Arts: a young man (Constanzo Sforza?) before Music (National Gallery, London). Another painting from this cycle, with Federigo da Montefeltro before Rhetoric was destroyed in Berlin in 1945Yet there are notable divergences between these pictures and the Communion of the Apostles. Still, it is possible that Giusto should have been able, after a certain time, to temper his Flemish style by studying the masterpieces of Santi and Melozzo, and so to acquire the mixed manner of the Flemings and Italians which these portraits of worthies display. Such an assimilation, if it really took place, might justify the Flemings in the indulgence of a certain pride, considering that Raphael not only admired these worthies, but copied them in the sketch-book which is now the ornament of the Venetian Academy. There is no ground for presuming that Giusto da Guanto is identical with Justus d'Allamagna who painted the Annunciation (1451) in the cloisters of Santa Maria di Castello at Genoa. The drawing and coloring of this wall painting shows that Justus d'Allamagna was as surely a native of south Germany as his homonym at Urbino was a born Netherlander.
Anne Vallayer-Coster
French Rococo Era Painter, 1744-1818,was an eighteenth-century French painter. Known as a prodigy artist at a young age, she achieved fame and recognition very early in her career, being admitted to the Royal Academy in 1770, at the age of twenty-six. Despite the negative reputation that still-life painting had at this time, Vallayer-Coster??s highly developed skills, especially in the depiction of flowers, soon generated a great deal of attention from collectors and other artists. Her precocious talent and the rave reviews?? earned her the attention of the court, where Marie Antoinette took a particular interest in Vallayer-Coster's paintings. Regardless of her closeness to the ancient regime and France's hated monarch she survived the bloodshed of the French Revolution. However, the fall of the French monarchy, which were her primary patrons, caused her banishment into the shadows. Anne Vallayer-Coster was a woman in a man??s world. It is unknown what she thought of contemporaries who admitted her to the confraternity, and made her an honorary ??man??. Her life was determinedly private, dignified and hard-working. Occasionally she attempted other genres, but for the usual reasons her success at figure painting was limited