Allegory
1462-1521
Italian Piero di Cosimo Galleries
Italian painter and draughtsman.
Tax declarations made by Piero di Cosimo's father suggest that the artist was born in either 1461 or 1462. According to the first, he was eight years old in 1469, while a catasto (land registry declaration) of 1480 gives his age as 18. A document of 1457 establishes that his father, Lorenzo di Piero d'Antonio, was a maker of small tools (succhiellinaio) rather than a goldsmith, as Vasari claimed. By 1480 Piero appears no longer to have been living at the family house in the Via della Scala, Florence, but was an unsalaried apprentice or workshop assistant to Cosimo Rosselli, from whom he received room and board and eventually took the name of Piero di Cosimo. 1500 22 1/8" x 17 3/8"
National Gallery of Art, Washington DC
Painting ID:: 1538
Allegory
German
1480-1538
Albrecht Altdorfer Galleries
He most often painted religious scenes, but is mainly famous as the first frequent painter of pure landscape, and also compositions dominated by their landscape. Taking and developing the landscape style of Lucas Cranach the Elder, he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from a rising or setting sun. His Landscape with footbridge (National Gallery, London) of 1518-20 is claimed to be the first pure landscape in oil. He also made many fine finished drawings, mostly landscapes, in pen and watercolour. His best religious scenes are intense, sometimes verging on the expressionistic, and often depict moments of intimacy between Christ and his mother, or others. His most famous religious artwork is the The Legend of St. Sebastian and the Passion of Christ that decorated the altar in the St. Florian monastery in Linz, Austria. He often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large. 1531
Painting ID:: 2288
Allegory
Flemish Baroque Era Painter, 1581-1642
was a Flemish Baroque painter and the best-known member of the large Francken family of artists. Many of his works are small historical, allegorical and biblical cabinet paintings with the focus on figures. He also invented or popularized several new themes that became popular in Flemish painting, such as genre scenes populated by monkeys (later imitated by David Teniers the Younger) and Kunstkamer paintings displaying a wealth of natural and artistic treasures against a neutral wall. Francken frequently collaborated with other artists, adding figures to works by Tobias Verhaecht and Abraham Govaerts. mk155
1628
Oil on copper
48x66cm
Painting ID:: 39917
Allegory
Italian High Renaissance Painter, 1500-1571
Bordone was born at Treviso, but had moved to Venice by late adolescence. He apprenticed briefly and unhappily (according to Vasari) with Titian. Vasari may have met the elder Bordone.
From the 1520s, we have works by Bordone including the Holy Family in Florence, Sacra Conversazione with Donor (Glasgow), and Holy Family with St. Catherine (Hermitage Museum). The St. Ambrose and a Donor (1523) is now in Brera. In 1525-6, Bordone painted an altarpiece for the church of S. Agostino in Crema, a Madonna with St. Christopher and St George (now in the Palazzo Tadini collection at Lovere). A second altarpiece, Pentecost, is now in Brera gallery.
In 1534-5, he painted his large-scale masterpiece for the Scuola di San Marco a canvas of the Fisherman delivering the Marriage Ring of Venice to the Doge (Accademia). However, when this latter painting is compared to the near-contemoporary, and structurally similar, Presentation of the Virgin, Bordone's limitations, his use of superior perspective, which creates dwarfed distant perspectives, and limited coloration relative to the brilliant tints of Titian.
Bordone is best at his smaller cabinet pieces, showing half-figures, semi-undressed men and women from mythology or religious stories in a muscular interaction despite the crowded space.
1558-60 Oil on canvas, 110 x 131 cm The Hermitage, St. PetersburgArtist:BORDONE, Paris Title: Allegory Painted in 1501-1550 , Italian - - painting : mythological
Painting ID:: 63835
Allegory
Italian
1480-1556
Lorenzo Lotto Galleries
In this last period of his life, Lorenzo Lotto would frequently move from town to town, searching for patrons and commissions. In 1532 he went to Treviso. Next he spent about seven years in the Marches (Ancona, Macerata en Jesi), returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice in 1545. Finally he went back to Ancona in 1549.
This was a productive period in his life, during which he painted several altarpieces and portraits :
Santa Lucia before the Judge, 1532, Jesi, Pinacoteca comunale
The Sleeping Child Jesus with the Madonna, St. Joseph and St. Catherine of Alexandria, 1533, Bergamo, Accademia Carrara
Portrait of a Lady as Lucretia, 1533, National Gallery, London.
Holy Family with SS Jerome, Anna and Joachim, 1534, Firenze, Uffizi
Holy Family, ca 1537, Paris, Louvre
Portrait of a Young Man, Firenze, Uffizi
Crucifixion, Monte San Giusto, Church of S Maria in Telusiano
Rosary Madonna, 1539, Cingoli, Church of San Nicolo
Portrait of a Man, 1541, Ottawa, National Gallery of Canada
Bust of a Bearded Man, 1541, ascribed, San Francisco, Fine Arts Museum
The Alms of Saint Anthony, 1542, Venezia, church SS Giovanni e Paolo
Madonna and four Saints, 1546, Venezia, Church of San Giacomo dell??Orio
Portrait of fra?? Gregorio Belo da Vicenza, 1548,New York, Metropolitan Museum
Assumption, 1550, Ancona, church San Francesco alle Scale
The Crossbowman, 1551, Rome, Pinacoteca Capitolina
Portrait of an Old man, ascribed, ca 1552, Saint Petersburg, Ermitage
Presentation in the Temple, 1555, Loreto, Palazzo Apostolico
A Venetian woman in the guise of Lucretia (1533).At the end of his life it was becoming increasingly difficult for him to earn a living. Furthermore, in 1550 one of his works had an unsuccessful auction in Ancona. As recorded in his personal account book, this deeply disillusioned him. As he had always been a deeply religious man, he entered in 1552 the Holy Sanctuary at Loreto, becoming a lay brother. During that time he decorated the basilica of S Maria and painted a Presentation in the Temple for the Palazzo Apostolico in Loreto. He died in 1556 and was buried, at his request, in a Dominican habit.
Giorgio Vasari included Lotto's biography in the third volume of his book Vite. Lorenzo Lotto himself left many letters and a detailed notebook (Libro di spese diverse, 1538-1556), giving a certain insight in his life and work. Among the many painters he influenced are likely Giovanni Busi Date 1505(1505)
Medium Oil on wood
Dimensions Height: 56.5 cm (22.2 in). Width: 43.2 cm (17 in).
cjr
Painting ID:: 85579
Allegory
1621-1678
Dutch
Karel Dujardin Locations
Dujardin was born in Amsterdam in 1640. After training with Nicolaes Berchem, he went to Italy when young, and became a member of the Society of Painters at Rome, among whom, he was known as Barba di Becco. In Rome, his works met with general approbation.
According to some sources, on his way back to his native country, he contracted considerable debts at Lyon, to free himself from which, he married his old and rich landlady. He went with her to Amsterdam, where his pictures were valued very highly. He soon secretly left his home in that city, probably from dislike of his wife, and went back to Rome in 1675, where he was welcomed by his old friends and admirers, and lived at great expense. After a vist to Tangier he went to Venice, where he died in 1678.
Most of his paintings are cabinet paintings of Italianate landscapes and or with farm animals and peasants. His landscapes have spirit and harmony, his figures expression, and his colour the brilliancy which distinguishes his school. His paintings are rare and command a high price. He also published fifty-two etchings of simiar subjects, with great spirit and ease.
He painted a single, fine, portrait (probably a self-portrait), and a pair of Baroque religious paintings on the life of St Paul, probably commissioned, as they lie well outside his normal style. One of these, and the portrait, are in the National Gallery, London 1663(1663)
Medium Oil on canvas
cyf
Painting ID:: 86598
Allegory
Italian
1480-1556
Lorenzo Lotto Galleries
In this last period of his life, Lorenzo Lotto would frequently move from town to town, searching for patrons and commissions. In 1532 he went to Treviso. Next he spent about seven years in the Marches (Ancona, Macerata en Jesi), returning to Venice in 1540. He moved again to Treviso in 1542 and back to Venice in 1545. Finally he went back to Ancona in 1549.
This was a productive period in his life, during which he painted several altarpieces and portraits :
Santa Lucia before the Judge, 1532, Jesi, Pinacoteca comunale
The Sleeping Child Jesus with the Madonna, St. Joseph and St. Catherine of Alexandria, 1533, Bergamo, Accademia Carrara
Portrait of a Lady as Lucretia, 1533, National Gallery, London.
Holy Family with SS Jerome, Anna and Joachim, 1534, Firenze, Uffizi
Holy Family, ca 1537, Paris, Louvre
Portrait of a Young Man, Firenze, Uffizi
Crucifixion, Monte San Giusto, Church of S Maria in Telusiano
Rosary Madonna, 1539, Cingoli, Church of San Nicolo
Portrait of a Man, 1541, Ottawa, National Gallery of Canada
Bust of a Bearded Man, 1541, ascribed, San Francisco, Fine Arts Museum
The Alms of Saint Anthony, 1542, Venezia, church SS Giovanni e Paolo
Madonna and four Saints, 1546, Venezia, Church of San Giacomo dell??Orio
Portrait of fra?? Gregorio Belo da Vicenza, 1548,New York, Metropolitan Museum
Assumption, 1550, Ancona, church San Francesco alle Scale
The Crossbowman, 1551, Rome, Pinacoteca Capitolina
Portrait of an Old man, ascribed, ca 1552, Saint Petersburg, Ermitage
Presentation in the Temple, 1555, Loreto, Palazzo Apostolico
A Venetian woman in the guise of Lucretia (1533).At the end of his life it was becoming increasingly difficult for him to earn a living. Furthermore, in 1550 one of his works had an unsuccessful auction in Ancona. As recorded in his personal account book, this deeply disillusioned him. As he had always been a deeply religious man, he entered in 1552 the Holy Sanctuary at Loreto, becoming a lay brother. During that time he decorated the basilica of S Maria and painted a Presentation in the Temple for the Palazzo Apostolico in Loreto. He died in 1556 and was buried, at his request, in a Dominican habit.
Giorgio Vasari included Lotto's biography in the third volume of his book Vite. Lorenzo Lotto himself left many letters and a detailed notebook (Libro di spese diverse, 1538-1556), giving a certain insight in his life and work. Among the many painters he influenced are likely Giovanni Busi 1505(1505)
Medium oil on wood
cyf
Painting ID:: 89658
Allegory
German Mannerist Painter, 1552-1615
(b Cologne, 1552; d Prague, 4 March 1615). German painter and draughtsman, active also in Italy and Bohemia. One of the foremost painters of the circle gathered at the Prague court of Emperor Rudolf II. 1598
Oil on copper, 56 x 47 cm
Alte Pinakothek, Munich
TTD
Painting ID:: 92414
Allegory
(8 May 1850 ?C 13 November 1899) was a Brazilian painter of the 19th century. He is widely regarded as the most important Brazilian realist painter of the 19th century, and a major inspiration for the modernist painters. While most Brazilian academic artists made their fame painting mythological or historical subjects, Almeida Junior would become popular for painting rural figures, especially farmers and the caipira, the countrymen that are a kind of a symbol of the rural areas of the São Paulo state.
While most realist painters used farmers and countrymen as an allegory of workers, Almeida Junior would paint his caipiras mostly on leisure time. He would also produce touching images of upscale landowners. The Bandeirantes, the ruthless explorers of colonial Brazil, would be depicted in the A partida da monção, showing an expedition on the Tiet?? River.
Almeida Junior was born in the city of Itu, then a small town in the state of São Paulo. After becoming a sensation in his town he would be invited to study in the Brazilian Imperial Fine Arts Academy of Rio de Janeiro, but in 1876 would study in France after being granted a scholarship by emperor Pedro II of Brazil in person in the city of Moji-Mirim. He would have Alexandre Cabanel as one of his masters.
He admired the French realist and naturalist painting (a major influence at his work), and, after returning to Brazil in 1882, became of the leading names in Brazilian realist painting.
He was stabbed to death by the husband of his mistress on November 13, 1899 in Piracicaba.
Date 1892
Medium oil on canvas
Dimensions 250 X 125 cm (98.4 X 49.2 in)
Painting ID:: 92469
Allegory
1462-1521
Italian Piero di Cosimo Galleries
Italian painter and draughtsman.
Tax declarations made by Piero di Cosimo's father suggest that the artist was born in either 1461 or 1462. According to the first, he was eight years old in 1469, while a catasto (land registry declaration) of 1480 gives his age as 18. A document of 1457 establishes that his father, Lorenzo di Piero d'Antonio, was a maker of small tools (succhiellinaio) rather than a goldsmith, as Vasari claimed. By 1480 Piero appears no longer to have been living at the family house in the Via della Scala, Florence, but was an unsalaried apprentice or workshop assistant to Cosimo Rosselli, from whom he received room and board and eventually took the name of Piero di Cosimo. c. 1500
Medium oil on wood panel
Dimensions 56.2 x 44.1 cm (22 1/8 x 17 3/8 in.)
cjr
Painting ID:: 93614
Allegory
Italian
1457-1504
Filippino Lippi Galleries
Born Filippo Lippi in Prato (Tuscany), the illegitimate son of the painter Fra Filippo Lippi and nun Lucrezia Buti, Filippino first trained under his father. They moved to Spoleto, where Filippino served as shop adjuvant in the construction of the Cathedral there. When his father died in 1469, he completed the frescos with Storie della Vergine (Histories of the Virgin) in the cathedral. Filippino Lippi completed his apprenticeship in the workshop of Botticelli, who had been a pupil of Filippino's father. In 1472, Botticelli also took him as his companion in the Compagnia di San Luca.
His first works greatly resemble those of Botticelli's, but with less sensitivity and subtlety. The very first ones (dating from 1475 onwards) were initially attributed to an anonymous "Amico di Sandro" ("Friend of Botticelli"). Eventually Lippi's style evolved into a more personal and effective one in the years 1480-1485. Works of the early period include: the Madonnas of Berlin, London and Washington, the Journeys of Tobia of the Galleria Sabauda in Turin, Italy, the Madonna of the Sea of Galleria dell'Accademia and the Histories of Ester.
Together with Perugino, Ghirlandaio and Botticelli, Lippi worked on the frescoed decoration of Lorenzo de Medici's villa at Spedaletto. On December 31, 1482 he was commissioned to work on a wall of Sala dell'Udienza of Palazzo Vecchio in Florence (a work never begun). Soon after (probably in 1483-1484) he was called to complete Masaccio's decoration of Brancacci Chapel in the church of the Carmine, left unfinished by the artist's death in 1428 . Here he realized the Stories of Saint Peter on the following frescoes: Quarrel with Simon Magus in face of Nero, Resurrection of Teophilus' Son, Saint Peter Jailed, Liberation and Saint Peter's Crucifixion.
The work on the Sala degli Otto di Pratica, in the Palazzo Vecchio, started on February 20, 1486. It is now in the Uffizi Gallery. In the same years Piero di Francesco del Pugliese asked him to paint the altarpiece with Apparition of the Virgin to St. Bernard, now in the Badia Fiorentina, Florence. This is Lippi's most popular picture: a composition of unreal items, with its very particular elongated figures, backed by a phantasmagorical scenario of rocks and almost anthropomorphic trunks. The work can be dated to the 1480-1486 years.
Eventually he worked for Tanai de' Nerli in the Saint Spirit's Church.
On April 21, 1487, Filippo Strozzi asked him to decorate the family chapel in Santa Maria Novella with the Stories of St. John Evangelist and St. Philip. He worked on this piece intermittently, only completing it in 1503, after the customer's death. The windows with musical themes, also designed by Filippino, were completed between June and July 1503. These paintings can be seen as a mirror of the political and religious crisis in Florence at the time: the theme of the fresco, the clash between Christianity and Paganism, was hotly debated in the Florence of Girolamo Savonarola.
Filippino showed his characters in a landscape which recreated the ancient world in its finest details, showing the influence of the Grottesco style he had seen in his journey to Rome. He created in this way an "animated", mysterious, fantastic but also disquieting style, showing the unreality of something as a nightmare. In this way, Filippino portrayed ruthless executioners deformed by grim faces, who raged against the Saints. In the scene with St. Philip expelling a monster from the temple, the statue of the pagan god is a living figure which seems to dare the Christian saint.
In 1488, Lippi moved to Rome, where Lorenzo de' Medici had advised Cardinal Oliviero Carafa to entrust him the decoration of the family chapel in Santa Maria sopra Minerva. These frescoes show a new kind of inspiration, quite different from the earlier works, but confirm his continued research on the themes of the Ancient era. Lippi finished the cycle by 1493.
Lippi's return to Florence is variously assigned to the years going from 1491 to 1494 . Works of this period include: Apparition of Christ to Madonna (1493, now in Munich), Adoration of the Magi (1496, for the church of San Donato in Scopeto, now in the Uffizi), Sacrifice of Lacoön (end of the century, for the villa of Lorenzo de' Medici at Poggio a Caiano), St. John Baptist and Maddalena (Valori Chapel in San Procolo, Florence, inspired in some way to Luca Signorelli's art). He also worked outside of his mother-country, namely on the Certosa of Pavia and in Prato, where in 1503 he completed the Tabernacle of the Christmas Song, now in the City Museum; in 1501 Lippi realized the Mystic Wedding of St. Catherine for the Basilica of San Domenico in Bologna.
Lippi's last work is the Deposition for the Santissima Annunziata church in Florence, which at his death in April 1504 was unfinished.
He was so renowned that all the workshops of the city closed on the day of his burial. circa 1498(1498)
Medium oil on panel
cyf
Painting ID:: 97968
Filippino Lippi Italian
1457-1504
Filippino Lippi Galleries
Born Filippo Lippi in Prato (Tuscany), the illegitimate son of the painter Fra Filippo Lippi and nun Lucrezia Buti, Filippino first trained under his father. They moved to Spoleto, where Filippino served as shop adjuvant in the construction of the Cathedral there. When his father died in 1469, he completed the frescos with Storie della Vergine (Histories of the Virgin) in the cathedral. Filippino Lippi completed his apprenticeship in the workshop of Botticelli, who had been a pupil of Filippino's father. In 1472, Botticelli also took him as his companion in the Compagnia di San Luca.
His first works greatly resemble those of Botticelli's, but with less sensitivity and subtlety. The very first ones (dating from 1475 onwards) were initially attributed to an anonymous "Amico di Sandro" ("Friend of Botticelli"). Eventually Lippi's style evolved into a more personal and effective one in the years 1480-1485. Works of the early period include: the Madonnas of Berlin, London and Washington, the Journeys of Tobia of the Galleria Sabauda in Turin, Italy, the Madonna of the Sea of Galleria dell'Accademia and the Histories of Ester.
Together with Perugino, Ghirlandaio and Botticelli, Lippi worked on the frescoed decoration of Lorenzo de Medici's villa at Spedaletto. On December 31, 1482 he was commissioned to work on a wall of Sala dell'Udienza of Palazzo Vecchio in Florence (a work never begun). Soon after (probably in 1483-1484) he was called to complete Masaccio's decoration of Brancacci Chapel in the church of the Carmine, left unfinished by the artist's death in 1428 . Here he realized the Stories of Saint Peter on the following frescoes: Quarrel with Simon Magus in face of Nero, Resurrection of Teophilus' Son, Saint Peter Jailed, Liberation and Saint Peter's Crucifixion.
The work on the Sala degli Otto di Pratica, in the Palazzo Vecchio, started on February 20, 1486. It is now in the Uffizi Gallery. In the same years Piero di Francesco del Pugliese asked him to paint the altarpiece with Apparition of the Virgin to St. Bernard, now in the Badia Fiorentina, Florence. This is Lippi's most popular picture: a composition of unreal items, with its very particular elongated figures, backed by a phantasmagorical scenario of rocks and almost anthropomorphic trunks. The work can be dated to the 1480-1486 years.
Eventually he worked for Tanai de' Nerli in the Saint Spirit's Church.
On April 21, 1487, Filippo Strozzi asked him to decorate the family chapel in Santa Maria Novella with the Stories of St. John Evangelist and St. Philip. He worked on this piece intermittently, only completing it in 1503, after the customer's death. The windows with musical themes, also designed by Filippino, were completed between June and July 1503. These paintings can be seen as a mirror of the political and religious crisis in Florence at the time: the theme of the fresco, the clash between Christianity and Paganism, was hotly debated in the Florence of Girolamo Savonarola.
Filippino showed his characters in a landscape which recreated the ancient world in its finest details, showing the influence of the Grottesco style he had seen in his journey to Rome. He created in this way an "animated", mysterious, fantastic but also disquieting style, showing the unreality of something as a nightmare. In this way, Filippino portrayed ruthless executioners deformed by grim faces, who raged against the Saints. In the scene with St. Philip expelling a monster from the temple, the statue of the pagan god is a living figure which seems to dare the Christian saint.
In 1488, Lippi moved to Rome, where Lorenzo de' Medici had advised Cardinal Oliviero Carafa to entrust him the decoration of the family chapel in Santa Maria sopra Minerva. These frescoes show a new kind of inspiration, quite different from the earlier works, but confirm his continued research on the themes of the Ancient era. Lippi finished the cycle by 1493.
Lippi's return to Florence is variously assigned to the years going from 1491 to 1494 . Works of this period include: Apparition of Christ to Madonna (1493, now in Munich), Adoration of the Magi (1496, for the church of San Donato in Scopeto, now in the Uffizi), Sacrifice of Lacoön (end of the century, for the villa of Lorenzo de' Medici at Poggio a Caiano), St. John Baptist and Maddalena (Valori Chapel in San Procolo, Florence, inspired in some way to Luca Signorelli's art). He also worked outside of his mother-country, namely on the Certosa of Pavia and in Prato, where in 1503 he completed the Tabernacle of the Christmas Song, now in the City Museum; in 1501 Lippi realized the Mystic Wedding of St. Catherine for the Basilica of San Domenico in Bologna.
Lippi's last work is the Deposition for the Santissima Annunziata church in Florence, which at his death in April 1504 was unfinished.
He was so renowned that all the workshops of the city closed on the day of his burial. Allegory circa 1498(1498)
Medium oil on panel
cyf
