Perugino (Italian Renaissance painter, 1445-1523)

Pietro di Cristoforo Vannucci -il Perugino, was the greatest painter of the Umbrian school, active mainly in Perugia.

He studied under Fiorenzo di Lorenzo, assisted Piero della Francesca at Arezzo, and in the early 1470s was a fellow pupil of Leonardo da Vinci🎨 and Lorenzo di Credi in Verrocchio's studio in Florence.

In 1479 Perugino was summoned to Rome by Pope Sixtus IV to help decorate the Sistine Chapel🎨.

He is recorded in the 1481 contract for the frescoes in the Sistine Chapel along with Sandro Botticelli🎨.

Leonardo da Vinci | Quotes / Paintings

• Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest.
• La pittura riguarda tutti i 10 attributi della vista; che sono: oscurità, luce, solidità e colore, forma e posizione, distanza e propinquità, movimento e riposo.

Michelangelo Buonarroti | Crouching Boy, 1530-1534

Author: Michelangelo Buonarroti🎨 (Italian High Renaissance / Mannerist Painter / Sculptor, 1475-1564)

Title: Crouching Boy

Place: Italy. Florence

Date: circa 1530-1534

Material: marble

Dimensions: height: 54 cm

Acquisition date: Entered the Hermitage in 1851; transferred from the Academy of Fine Arts

Artus Wolffort (1581-1641) | Baroque painter

Artus Wolffort, Artus Wolffaert or Artus Wolffaerts (1581-1641) was a Flemish painter🎨 known mainly for his history paintings depicting religious and mythological scenes.

Wolffort and his work were not well known until the late 1970s and some of his paintings were even classified as early works by Rubens🎨.

His oeuvre was reconstructed from a fully signed work (Esther's Toilet in the Harem of Ahasuerus, original untraced, 10 copies of which one fully signed in the Victoria and Albert Museum in London) and various paintings bearing a monogram.

Dosso Dossi (1490-1542) | High Renaissance painter

A leader of the Ferrara School of painting from the Renaissance, Dossi is well known for his enigmatic allegorical style.

Born Giovanni di Niccoló de Luteri in Tramuschio di Mirandola. Dossi’s father worked as a land agent, or bursar for the Este family, under their court in Ferrara; they would later become Dossi’s patrons.

It is said that he trained early on with Lorenzo Costa (1460-1535), also of the School of Ferrara painters. Though part of Costa’s influence was also important to the Bolognese school of painting.

Hendrick van Steenwyck II ~ Baroque painter of architectural interiors

Hendrick van Steenwijk the Younger's (1580-1649) early style resembled that of his father, an architecture painter.

He likely spent several years in Antwerp, though he apparently was not enrolled in its painters' guild.

Van Steenwijk's architectural interiors of this period are frequently populated with figures by Jan Brueghel the Elder and other Flemish painters🎨 who worked in Antwerp.

Giovanni Bellini (1433-1516)

Giovanni Bellini was an Italian Renaissance painter🎨, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini (who was more highly regarded than Giovanni during his lifetime, although the reverse is true today), and his brother-in-law was Andrea Mantegna🎨.

He was considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style.

Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione🎨 and Titian🎨.

Joachim Beuckelaer (1533-1575) Genre painter

From an Antwerp family of painters, Beuckelaer trained in the studio of Pieter Aertsen.

In 1560 he became an independent master, and continued to develop themes in painting pioneered by Aertsen, arguably surpassing him in skill.

Market painting | Page 3

Constantine Paul Lafargue (1729-1782)

Market painting | Page 2

Hendrik Martensz Sorgh (Dutch Baroque Era painter, ca.1611-1670)

Luis de Morales (El Divino) | Mannerist painter

Luis de Morales, byname El Divino (Spanish: “The Divine”), (born c. 1509, Badajoz, Spain - died May 9, 1586, Badajoz), painter who was the first Spanish artist🎨 of pronounced national character, considered to be the greatest native Mannerist painter🎨 of Spain.

He is remembered for his emotional religious paintings, which earned him his sobriquet and greatly appealed to the Spanish populace.

Morales may have studied with the Flemish painter🎨 Hernando Sturmio in Badajoz or with Pedro de Campaña in Seville.

He worked in Badajoz from 1546, leaving on occasional commissions but making his home there all his life. Summoned by Philip II of Spain to help in the decoration of El Escorial, he painted a Christ Carrying the Cross that did not please the king and was removed to the Church of San Jerónimo, Madrid.

Adam de Coster (1586-1643) | Card players by candlelight

In the absence of signed and documented works by Flemish painter🎨 Adam De Coster (1586-1643), all attributions have been based on Lucas Vorsterman's engraving after a lost original entitled "The Trick-trak player".

The present painting, which was also engraved by Vorsterman, shares a number of similarities with this key, lost work.

Both compositions are multi-figural and lit by candlelight, with a figure in the foreground partially shading the light source.

The artist adopts a low viewpoint in both paintings which means that the table-tops are hardly visible.

Othello and Desdemona painting

Othello -The Tragedy of Othello, the Moor of Venice- is a tragedy by William Shakespeare, believed to have been written in 1603.

It is based on the story Un Capitano Moro -"A Moorish Captain"- by Cinthio, a disciple of Boccaccio, first published in 1565.

The story revolves around its two central characters: Othello, a Moorish general in the Venetian army and his unfaithful ensign, Iago.

Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theatre alike, and has been the source for numerous operatic, film, and literary adaptations.

Sir Frederic Leighton (1830-1896) Desdemona, 1888 (detail)

Lorenzo di Credi (1458-1537) High Renaissance painter

Born the son of a goldsmith in 1457 or 1459, Lorenzo di Credi was, with Leonardo da Vinci🎨 and Perugino🎨, a pupil in the Florentine workshop of Andrea del Verrocchio, where he is first recorded in 1480 as a poorly paid assistant

During the master's absence in 1482-1483, Lorenzo took over the shop, and he became Verrocchio's heir upon Andrea's death in 1488.

Though not a very original painter, Lorenzo was technically proficient, with the result that the meticulously detailed, enamel-like surfaces of his pictures are, as a rule, better preserved than are the works of his teacher or his fellow pupils.

Alonso Sánchez Coello (1531-1588) Renaissance painter

Sánchez Coello, Alonso (Benifairó del Valls, Valencia - Spain, 1531/32 - Madrid -Spain, 1588) is a fundamental figure in the history of Spanish painting🎨.

He was the first to bring portraiture to the peninsula, where he followed the model developed by Anthonis Mor in likenesses of the Habsburg family.

Some of his paintings were included in the most important portrait galleries developed during the reign of Philip II, including those at the El Pardo and Alcázar Palaces, both sadly lost to fires in 1604 and 1734, respectively.

Today, his works hang in the Museo del Prado, in Spain’s royal foundations, including the Monastery of the Descalzas Reales and in museums and collections in Austria and Bohemia.

Auguste Rodin / Shakespeare | Romeo and Juliet, 1905

Silenzio! Quale luce irrompe da quella finestra lassù?

È l'oriente, e Giulietta è il sole.

Sorgi, vivido sole, e uccidi l'invidiosa luna,

malata già e pallida di pena

perché tu, sua ancella, di tanto la superi in bellezza.

Non essere la sua ancella, poiché la luna è invidiosa.

Il suo manto di vestale è già di un verde smorto,

e soltanto i pazzi lo indossano. Gettalo via.

È la mia donna; oh, è il mio amore! se soltanto sapesse di esserlo.

Michelangelo Buonarroti | Sol io ardendo all'ombra mi rimango | Sonnets / Le Rime

Molti anni fassi qual felice, in una

brevissima ora si lamenta e dole;

o per famosa o per antica prole

altri s'inlustra, e ’n un momento imbruna.

Cosa mobil non è che sotto el sole

non vinca morte e cangi la fortuna.

A man who's happy many a year, one hour

- even less! - undoes; all's lost in grief and worry.

Another basks in his family name; that glory

is out in a flash as blacker heavens lour.

None so alive but death cuts short the story;

nothing so sweet but fortune turns it sour ...

Rubens | Portrait of Susanna Lunden, 1622

This painting is one of the most famous by Peter Paul Rubens🎨 (Flemish Baroque Era painter, 1577-1640) in the Collection of the National Gallery, London.

The title 'Le Chapeau de Paille' (meaning The Straw Hat) was first used in the 18th century. In fact the hat is not straw; 'paille' may be an error for 'poil', which is the French word for felt.

The hat, which shades the face of the sitter, is the most prominent feature of the painting.

The portrait is probably of Susanna Lunden, born Susanna Fourment, third daughter of Daniel Fourment, an Antwerp tapestry and silk merchant. Her younger sister Helena became Rubens's second wife in 1630.

Michelangelo Buonarroti | 267 Drawings | Part.⁵

Michelangelo🎨, with Leonardo da Vinci🎨 and Raphael🎨, is one of the three giants of the Florentine High Renaissance🎨. Although their names are often cited together, Michelangelo was younger than Leonardo by 23 years, and older than Raphael by eight.

Because of his reclusive nature, he had little to do with either artist and outlived both of them by more than forty years. Michelangelo took few sculpture students.

He employed Francesco Granacci, who was his fellow pupil at the Medici Academy, and became one of several assistants on the Sistine Chapel ceiling.

Michelangelo appears to have used assistants mainly for the more manual tasks of preparing surfaces and grinding colours.

Despite this, his works were to have a great influence on painters, sculptors and architects for many generations to come.

Michelangelo | Arms and Hands Study

Michelangelo Buonarroti🎨 (6 March 1475 - 18 February 1564) was an Italian🎨 sculptor, painter, architect and poet of the High Renaissance born in the Republic of Florence, who exerted an unparalleled influence on the development of Western art.

Considered by many the greatest artist of his lifetime, and by some the greatest artist of all time, his artistic versatility was of such a high order that he is often considered a contender for the title of the archetypal Renaissance🎨 man, along with his rival, the fellow Florentine and client of the Medici, Leonardo da Vinci🎨.

A number of Michelangelo's works of painting, sculpture and architecture rank among the most famous in existence. His output in these fields was prodigious; given the sheer volume of surviving correspondence, sketches and reminiscences, he is the best-documented artist of the 16th century.