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Raphael

Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.

The Entombment
The Entombment
Painting ID:: 3302

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Galleria Borghese, Rome
Galleria Borghese, Rome

Dieric Bouts

1420-1475 Flemish Dieric Bouts Locations Dirk Bouts whose real name was Theodorik Romboutszoon, was probably born in Haarlem, where he may have studied under the painter Albert van Ouwater. Sometime before 1450 Bouts took up residence in the Flemish city of Louvain. His name appeared in the records of Louvain in 1457 and again in 1468, when he was appointed "city painter." It is likely that Bouts spent some time in Bruges, as his earliest work, the Infancy Altarpiece shows the distinct and strong influence of Petrus Christus, the leading master of that city after the death of Jan van Eyck. The slightly later Deposition Altarpiece (ca. 1450) displays strong connections with the style of Rogier van der Weyden in both the figure types and the composition. About 1460, the period of the Entombment in London, the early, formative influence of Petrus Christus had been almost totally displaced by that of Rogier, though Bouts personal vision began to emerge in the fluid and continuous landscape background. The great Last Supper Altarpiece (1464-1467) marks the high point of Bouts career. In this solemn and dignified masterpiece the painter achieved spiritual grandeur in the context of convincing physical reality. The central panel of the altarpiece is the most emphatically significant treatment of the theme of the Last Supper in Northern European art. The wings, which contain Old Testament prefigurations of the central theme, are freer and more loosely organized. Eschewing the symmetry and rigid axial construction of the main panel, Bouts produced rhythmic foreground compositions in combination with fluid and dramatic spatial recessions. In 1468 Bouts was commissioned to paint four panels on the subject of justice for the Town Hall of Louvain. At the painter death in 1475 only two of the paintings had been completed; they are among the most remarkable productions of his career. The unusual subjects, taken from the chronicles of a 12th-century historian, concern the wrongful execution by Emperor Otto III of one of his counts and the subsequent vindication of the nobleman by his wife. The finer of the panels represents the dramatic trial by fire which the wife was obliged to undergo to prove her husband innocence. Rich draperies and sumptuous colors are applied to tall angular forms to create a work of rare formal elegance and high decorative appeal. In order to dignify the event, however, the artist has employed restrained gestures and expressions as well as a completely rationalized spatial setting. As in the Last Supper Altarpiece, a sense of solemn and hieratic importance is expressed by means of an austere and rigid geometry in the construction of both persons and places. The late productions of Bouts workshop, such as the well-known Pearl of Brabant Altarpiece, are characterized by the close collaboration of the painter two sons, Dirk the Younger (1448-1491) and Aelbrecht (1455/1460-1549). In the paintings of his less gifted sons, the master distinctive figure style was appreciably altered, though Dirk the Younger appears to have retained much of his father sensitivity to the landscape. In addition to his innovations in the depiction of landscape, Bouts made a substantial contribution to the development of the portrait. His Portrait of a Man (1462) localizes the sitter in an enlarged architectural setting while permitting the interior space to merge with the exterior through an open window. For the first time in Northern painting a common bond was forged between a particularized individual and the universal world of nature.

The Entombment
The Entombment
Painting ID:: 10026

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1450Distemper on flax canvas, 90,2 x 74,3 cm National Gallery, London
1450Distemper on flax canvas, 90,2 x 74,3 cm National Gallery, London

Caravaggio

Italian Baroque Era Painter, ca.1571-1610 Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.

The Entombment
The Entombment
Painting ID:: 33574

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mk86 c.1602-1604 Oil on canvas 300x203cm Rome,Musei Vaticani,Pinacoteca Vaticana
mk86 c.1602-1604 Oil on canvas 300x203cm Rome,Musei Vaticani,Pinacoteca Vaticana

PARMIGIANINO

Italian Mannerist Painter, 1503-1540 Italian painter, draughtsman and printmaker. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn. There he executed few large-scale works but was introduced to printmaking. After the Sack of Rome in 1527, he returned to northern Italy, where in his final decade he created some of his most markedly Mannerist works. Equally gifted as a painter of small panels and large-scale frescoes both sacred and profane, he was also one of the most penetrating portrait painters of his age.

The Entombment
The Entombment
Painting ID:: 34264

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mk91 ca.1523 Oil on canvas transferred from a panel 32x26.5
mk91 ca.1523 Oil on canvas transferred from a panel 32x26.5

unknow artist

The Entombment
The Entombment
Painting ID:: 40975

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mk159 1480s Tempera and oil on panel 94x182cm
mk159 1480s Tempera and oil on panel 94x182cm

Michelangelo Buonarroti

b Caprese 1475 d Rome 1564 Born: March 6, 1475 Caprese, Italy Died: February 18, 1564 Rome, Italy Italian artist Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects. Early life Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449?C1494), the most fashionable painter in Florence at the time. After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449?C1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time. Early works Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction. Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture. Rome After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides. In 1498 the same banker commissioned Michelangelo to carve the Piet?? now in St. Peter's. The term piet?? refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Piet?? contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male. Florence On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral. Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art. From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale. Pope Julius II (1443?C1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years. Sistine Chapel In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis. Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility. After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb. Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled. Medici Chapel In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other. A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed. Poetry Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style. Last Judgment In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468?C1549).

The Entombment
The Entombment
Painting ID:: 42964

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mk170 1497-1498 Oil on wood 161.7x149.9cm
mk170 1497-1498 Oil on wood 161.7x149.9cm

Albrecht Altdorfer

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.

The Entombment
The Entombment
Painting ID:: 52078

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c. 1516 Oil on wood, 70,5 x 37,3 cm
c. 1516 Oil on wood, 70,5 x 37,3 cm

Caravaggio

The entombment
The entombment
Painting ID:: 55754

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mk244 300x203cm Oil on canvas Rome
mk244 300x203cm Oil on canvas Rome

Caravaggio

the entombment
the entombment
Painting ID:: 56044

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mk247 1602 to 04 ,oil on canvas,118x80 in,300x203 cm,pinacteca vaticana,vatican city,ltaly
mk247 1602 to 04 ,oil on canvas,118x80 in,300x203 cm,pinacteca vaticana,vatican city,ltaly

Harold Gilman

British 1878-1919 Harold Gilman Gallery Developing an interest in art during a childhood convalescence period, he began his artistic training after a non-collegiate year at Oxford University (again cut short by ill health) and time working as a tutor to an English family living in Odessa. Studying at the Hastings School of Art (1896) and then the Slade School of Fine Art (1897?C1901), he then spent over a year studying the Spanish masters (Velazquez as well as Whistler were major early influences) and meeting and marrying the American painter Grace Cornelia Canedy. Moving back to London, where they settled (apart from an abortive trip to visit her family in Chicago, in which Gilman ducked pressure to join the Canedy family business), they had two daughters (one in London, one in Chicago). Meeting Walter Sickert in 1907, Gilman became a founder member of both the Fitzroy Street Group (in 1907) and the Camden Town Group (in 1911). In the meantime he joined the Allied Artists' Association, moved to Letchworth, and began to show influence from work of Vuillard as well as Sickert. He soon outpaced Sickert's understanding of post-Impressionism and moved out from under his shadow, however, using ever stronger colour and identifying with Charles Ginner as a 'Neo-Realist' (exhibiting with Ginner under that label in 1914). Canal Bridge, Flekkefjord, c. 1913Gilman visited Scandinavia in 1912 and 1913, and may have travelled with the artist William Ratcliffe, who had relations there. Gilman made studies of the environment, and painted Canal Bridge, Flekkefjord, an accurate depiction, whose subject is likely to have been inspired by Vincent van Gogh's depiction of a similar bridge in Provence. Gilman had rejected Van Gogh's work when he first encountered it, but later became a strong admirer and, according to Wyndham Lewis, keeping postcards of Van Gogh's work on his wall and sometimes hanging one of his own works next to them, if he was especially satisfied with it. At that time he also joined Robert Bevan's short-lived Cumberland Market Group with Ginner and John Nash. Remarrying in 1917, in 1918 he was commissioned to travel to Nova Scotia by the Canadian War Records.

The Entombment
The Entombment
Painting ID:: 62299

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1670-73 Painted and gilt wood Hospital de la Caridad, Seville The Brotherhood of Charity, the Caridad, as it is known, was one of Seville's major lay confraternities. It was founded in 1565 with the mission of providing a decent burial for paupers. From 1663 the charitable activities were expanded to provide care for the needy sick, and a hospital was built, simultaneously enlarging and renovating the already existing chapel. The scheme for the decoration of the chapel is a tripartite exposition of Christian charity as the way of salvation. The first part comprises two memorable paintings by Vald?s Leal, demonstrating the futility of earthly pursuits and honours. A life devoted to accumulating wealth, power, and even learning is shown to lead only to the grave. Charity, which constitutes the second part of the program, provides the way to salvation, as seen in the seven acts of mercy, six of which are depicted by Murillo; the seventh, burying the dead, the Caridad's foundation charity, is embodied in a sculptural group, the Entombment of Christ by Pedro Rold?n, placed in the altarpiece. The third component consists of two paintings by Murillo for lateral altars, depicting St Elizabeth of Hungary and St John of God, both illustrating the efficacy of good works and the necessity of personal participation in charitable deeds. The picture shows a detail of Rold?n's Entombment group. In seventeenth-century Spain the economic crisis had the effect of intensifying religion and bringing it closer to the people. Spanish sculpture of this period, nearly always in brightly coloured wood, treated the various figures of the Passion singly, in isolation, with the devoutness of a miracle play, thus bringing about an unexpected return to the cultural atmosphere of the Middle Ages. Rold?n's sculptural group is an example of this style
1670-73 Painted and gilt wood Hospital de la Caridad, Seville The Brotherhood of Charity, the Caridad, as it is known, was one of Seville's major lay confraternities. It was founded in 1565 with the mission of providing a decent burial for paupers. From 1663 the charitable activities were expanded to provide care for the needy sick, and a hospital was built, simultaneously enlarging and renovating the already existing chapel. The scheme for the decoration of the chapel is a tripartite exposition of Christian charity as the way of salvation. The first part comprises two memorable paintings by Vald?s Leal, demonstrating the futility of earthly pursuits and honours. A life devoted to accumulating wealth, power, and even learning is shown to lead only to the grave. Charity, which constitutes the second part of the program, provides the way to salvation, as seen in the seven acts of mercy, six of which are depicted by Murillo; the seventh, burying the dead, the Caridad's foundation charity, is embodied in a sculptural group, the Entombment of Christ by Pedro Rold?n, placed in the altarpiece. The third component consists of two paintings by Murillo for lateral altars, depicting St Elizabeth of Hungary and St John of God, both illustrating the efficacy of good works and the necessity of personal participation in charitable deeds. The picture shows a detail of Rold?n's Entombment group. In seventeenth-century Spain the economic crisis had the effect of intensifying religion and bringing it closer to the people. Spanish sculpture of this period, nearly always in brightly coloured wood, treated the various figures of the Passion singly, in isolation, with the devoutness of a miracle play, thus bringing about an unexpected return to the cultural atmosphere of the Middle Ages. Rold?n's sculptural group is an example of this style

Caravaggio

The Entombment
The Entombment
Painting ID:: 62391

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1602-03 Oil on canvas, width of detail: 30 cm Pinacoteca, Vatican The detail shows the head of Mary
1602-03 Oil on canvas, width of detail: 30 cm Pinacoteca, Vatican The detail shows the head of Mary

Albrecht Altdorfer

The Entombment
The Entombment
Painting ID:: 82481

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1516(1516) Medium Oil on wood cyf
1516(1516) Medium Oil on wood cyf

Peter Paul Rubens

Flemish Baroque Era Painter, 1577-1640 Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England. Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.

The Entombment
The Entombment
Painting ID:: 86948

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Date between 1611(1611) and 1612(1612) Medium Oil on wood Dimensions Height: 88 cm (34.6 in). Width: 66 cm (26 in). cjr
Date between 1611(1611) and 1612(1612) Medium Oil on wood Dimensions Height: 88 cm (34.6 in). Width: 66 cm (26 in). cjr

Peter Paul Rubens

The Entombment
The Entombment
Painting ID:: 91667

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between 1611(1611) and 1612(1612) Medium oil on panel Dimensions Height: 88 cm (34.6 in). Width: 66 cm (26 in). cyf
between 1611(1611) and 1612(1612) Medium oil on panel Dimensions Height: 88 cm (34.6 in). Width: 66 cm (26 in). cyf

Titian

Italian High Renaissance Painter, ca.1485-1576 Italian painter active in Venice. As a young man he was taught by the Bellini family and worked closely with Giorgione. His early works are so similar in style to Giorgione's as to be indistinguishable, but soon after Giorgione's early death Titian established himself as the leading painter of the Republic of Venice. Among his most important religious paintings is the revolutionary and monumental Assumption (1516 ?C 18) for Santa Maria dei Frari, in which the Virgin ascends to heaven in a blaze of colour accompanied by a semicircle of angels. Titian was also interested in mythological themes, and his many depictions of Venus display his work's sheer beauty and inherent eroticism. Bacchus and Ariadne (1520 ?C 23), with its pagan abandon, is one of the greatest works of Renaissance art. Titian was sought after for his psychologically penetrating portraits, which include portrayals of leading Italian aristocrats, religious figures, and Emperor Charles V. He reached the height of his powers in The Rape of Europa (c. 1559 ?C 62), one of several paintings done for Philip II of Spain. He was recognized as supremely gifted in his lifetime, and his reputation has never declined.

The Entombment
The Entombment
Painting ID:: 92742

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between 1523(1523) and 1526(1526) Medium oil on canvas Dimensions Height: 148 cm (58.3 in). Width: 205 cm (80.7 in). cjr
between 1523(1523) and 1526(1526) Medium oil on canvas Dimensions Height: 148 cm (58.3 in). Width: 205 cm (80.7 in). cjr

Raphael

The Entombment
The Entombment
Painting ID:: 97087

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1507(1507) Medium oil on panel cyf
1507(1507) Medium oil on panel cyf

Raphael

The Entombment
The Entombment
Painting ID:: 97088

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1507(1507) Medium oil on panel cyf
1507(1507) Medium oil on panel cyf

Raphael
Italian High Renaissance Painter, 1483-1520 Raphael Sanzio, usually known by his first name alone (in Italian Raffaello) (April 6 or March 28, 1483 ?C April 6, 1520), was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop, and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican, whose frescoed Raphael Rooms were the central, and the largest, work of his career, although unfinished at his death. After his early years in Rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
The Entombment
1507(1507) Medium oil on panel cyf

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