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Tintoretto

Italian Mannerist Painter, ca.1518-1594 His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.
Tintoretto The communion painting


The communion
The communion
Painting ID::  38515
   mk137 1592-1594 oil on linen 365x568cm San Giorgio Maggiore, Venice
  mk137 1592-1594 oil on linen 365x568cm San Giorgio Maggiore, Venice

 
 
   
      

Francesco Bassano the younger

Bassano 1549-Venice 1592
Francesco Bassano the younger The communion painting


The communion
The communion
Painting ID::  45478
   mk186 around 1590 Madrids Museo del Prado
  mk186 around 1590 Madrids Museo del Prado

 
 
   
      

ALLORI Alessandro

Italian Mannerist Painter, 1535-1607 Born in Florence. After the death of his father in 1540 he was brought up and trained in art by a close friend, often referred to as his 'uncle', the mannerist painter Agnolo Bronzino, whose name he sometimes assumed in his pictures. In some ways, Allori is the last of the line of prominent Florentine painters, of generally undiluted Tuscan artistic heritage: Andrea del Sarto worked with Fra Bartolomeo (as well as Leonardo Da Vinci), Pontormo briefly worked under Andrea, and trained Bronzino, who trained Allori. Subsequent generations in the city would be strongly influenced by the tide of Baroque styles pre-eminent in other parts of Italy. Freedburg derides Allori as derivative, claiming he illustrates "the ideal of Maniera by which art (and style) are generated out of pre-existing art." The polish of figures has an unnatural marble-like form as if he aimed for cold statuary. It can be said of late phase mannerist painting in Florence, that the city that had early breathed life into statuary with the works of masters like Donatello and Michelangelo, was still so awed by them that it petrified the poses of figures in painting. While by 1600 the Baroque elsewhere was beginning to give life to painted figures, Florence was painting two-dimensional statues. Furthermore, in general, with the exception of the Contra Maniera artists, it dared not stray from high themes or stray into high emotion.
ALLORI Alessandro The communion painting


The communion
The communion
Painting ID::  45493
   mk186 1582 Florence, Stanta Maria del Carmine
  mk186 1582 Florence, Stanta Maria del Carmine

 
 
   
      

CLEVE, Joos van

Flemish Northern Renaissance Painter, ca.1485-1540
CLEVE, Joos van The communion painting


The communion
The communion
Painting ID::  45497
   MK186 around 1530 Paris muse you Louvre
  MK186 around 1530 Paris muse you Louvre

 
 
   
      

Tintoretto

Italian Mannerist Painter, ca.1518-1594 His father was a silk dyer (tintore); hence the nickname Tintoretto ("Little Dyer"). His early influences include Michelangelo and Titian. In Christ and the Adulteress (c. 1545) figures are set in vast spaces in fanciful perspectives, in distinctly Mannerist style. In 1548 he became the centre of attention of artists and literary men in Venice with his St. Mark Freeing the Slave, so rich in structural elements of post-Michelangelo Roman art that it is surprising to learn that he had never visited Rome. By 1555 he was a famous and sought-after painter, with a style marked by quickness of execution, great vivacity of colour, a predilection for variegated perspective, and a dynamic conception of space. In his most important undertaking, the decoration of Venice's Scuola Grande di San Rocco (1564 C 88), he exhibited his passionate style and profound religious faith. His technique and vision were wholly personal and constantly evolving.
Tintoretto The communion painting


The communion
The communion
Painting ID::  45621
   mk186 1592-94 Venice church San Giorgio Maggiore
  mk186 1592-94 Venice church San Giorgio Maggiore

 
 
   
      

ROMANINO

Italian painter, Brescian school (b. ca. 1484, Brescia, d. ca. 1559, Brescia).
ROMANINO The communion painting


The communion
The communion
Painting ID::  45632
   mk186 1557/58 Montichiari, parish church
  mk186 1557/58 Montichiari, parish church

 
 
   
      

Domenico Ghirlandaio

Italian 1449-1494 Domenico Ghirlandaio Galleries Painter, mosaicist and possibly goldsmith. He was head of one of the most active workshops in late 15th-century Florence. He developed a style of religious narrative that blended the contemporary with the historical in a way that updated the basic tenets of early Renaissance art. Domenico documented material situation
Domenico Ghirlandaio The communion painting


The communion
The communion
Painting ID::  45633
   mk186 around 1476 Passignano, abbey
  mk186 around 1476 Passignano, abbey

 
 
   
      

Domenico Ghirlandaio

Italian 1449-1494 Domenico Ghirlandaio Galleries Painter, mosaicist and possibly goldsmith. He was head of one of the most active workshops in late 15th-century Florence. He developed a style of religious narrative that blended the contemporary with the historical in a way that updated the basic tenets of early Renaissance art. Domenico documented material situation
Domenico Ghirlandaio The communion painting


The communion
The communion
Painting ID::  45684
   mk186 around 148 Florence, Refektorium of the cloister Ognissanti
  mk186 around 148 Florence, Refektorium of the cloister Ognissanti

 
 
   
      

Federico Barocci

Italian Mannerist/Baroque Era Painter, ca.1535-1612
Federico Barocci The communion painting


The communion
The communion
Painting ID::  45688
   mk186 1580 Urbino, cathedral
  mk186 1580 Urbino, cathedral

 
 
   
      
Federico Barocci
Italian Mannerist/Baroque Era Painter, ca.1535-1612
The communion
mk186 1580 Urbino, cathedral
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Related Paintings to Federico Barocci :.
| The Naked Maja | The Fall of Man | The Repudiation of Hagar | Pastoral Landscape (mk17) | Gilles |

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