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Pignoni, Simone
Italian, 1611-98
Italian painter and draughtsman. He is best known for his many pictures of voluptuous female nudes, which developed the morbidly sensual style of Francesco Furini. His Self-portrait (c. 1650; Florence, Uffizi), in which he depicts himself building up a rounded female form from a skeleton, conveys his fascination with the subject. He had an early education in Latin, followed by an apprenticeship in the workshop of the bookbinder Zanobi Pignoni, a close relative. Domenico Passignano, who frequented the workshop, suggested that Pignoni be apprenticed to Fabrizio Boschi (1570-1642), one of his own former pupils. Pignoni began to study under Boschi |
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Pine, Robert Edge
American, 1720-88
English painter, active also in America. His father, John Pine (1691-1756), was a well-known engraver and printseller of whom William Hogarth painted a portrait (c. 1755; Fredericton, NB, Beaverbrook A.G.). Robert Edge Pine was initially considered to have the potential to rival Joshua Reynolds as a portrait painter, a promise derived from such works as the full-length portrait of George II (1759; Audley End, Essex), painted without a sitting being granted him by the King. In 1760 he won a premium at the Society of Arts, London, for a history painting, the Surrender of Calais to Edward III, also known as the Burghers of Calais (untraced), which was engraved in 1762 by Fran?ois Germain Aliamet (1734-88), and another in 1763 for Canute the Great Reproving his Courtiers for their Impious Flattery (untraced), also engraved by Aliamet. Pine was not invited to become a founder-member of the Royal Academy in 1768, probably because of his radical politics; that year he painted a portrait of the political agitator John Wilkes (London, Westminster Hall). In 1772 he left the Society of Arts following a quarrel over its choice of directors; he moved to Bath, where he joined his brother, Simon Pine (d Aug 1772), a painter of miniatures. Their sister was married to the landscape painter Alexander Cozens. While at Bath Pine painted his most ambitious family group, |
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Pinturicchio
Italian Early Renaissance Painter,
1454-1513
was an Italian painter of the Renaissance. He was born in Perugia, the son of Benedetto or Betto di Blagio. He may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturrichio was a paid assistant of Perugino. The works of the Perugian Renaissance school are very similar; and paintings by Perugino, Pinturicchio, Lo Spagna and a young Raphael may often be mistaken one for the other. |
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PIOLA, Domenico
Italian Baroque Era Painter, 1627-1703
was a Genoese painter of the Baroque period. His family studio was highly prolific. He apprenticed with his family, including his elder brother, Pellegro Piola, as well as with Domenico Fiasella. Other members of the Piola family, who were artists included Domenico's brother, Giovanni Andrea and his three sons Paolo Gerolamo, Anton Maria, and Giovanni Battista; his two sons-in-law, Gregorio de Ferrari and Domenico Parodi; and his brother-in-law Stefano Camogli. The large family studio, called Casa Piola excelled in both quadratura fresco decoration and canvases. Generations of artists, down to the 20th century, descended from the line of Piola-De Ferrari, including Giovanni Maria De Simoni, who died in 1913 in the original residence of Domenico's family. Domenico was also a well-known printmaker and draughtsman. |
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Piotr Michalowski
(July 2, 1800 - June 9, 1855) was a Polish painter of the Romantic period, especially known for his many portraits.
His talent was long underestimated, but he was re-discovered by Pablo Picasso in 1948. When the painter visited Poland, he saw Michałowski's work in the Warsaw National Museum and shouted, "Here, painter!"
The Sukiennice Museum, a division of the National Museum in Krakew, contains a room devoted to Michałowski's work.
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PISANELLO
Italian painter (b. 1395, Pisa, d. 1455, Roma).
known professionally as Antonio di Puccio Pisano or Antonio di Puccio da Cereto, also erroneously called Vittore Pisano by Giorgio Vasari, was one of the most distinguished painters of the early Italian Renaissance and Quattrocento. He was acclaimed by poets such as Guarino da Verona and praised by humanists of his time who compared him to such illustrious names as Cimabue, Phidias and Praxiteles. He is known for his resplendent frescoes in large murals, elegant portraits, small easel pictures, and many brilliant drawings. He is the most important commemorative portrait medallist in the first half of the 15th century. He was employed by the Doge of Venice, the Pope in the Vatican and the courts of Verona, Ferrara, Mantua, Milan, Rimini, and by the King of Naples. He stood in high esteem of the Gonzaga and Este families. He had many of his works wrongly ascribed to other artists such as Piero della Francesca, Albrecht Derer and Leonardo da Vinci, to name a few. While most of his paintings have perished, a good many of his drawings and medals have survived. His life is somewhat shrouded in mystery. He was born between 1380 and 1395 and died between 1450 and 1455 (probably between 14 July and 8 October 1455). He was a native of Pisa but spent his early years in San Vigilio sul Lago in the territory of Verona. He was probably given his early training by a Veronese painter (perhaps Altichiero or Stefano da Verona) as his early style is in the tradition of veronese painting. Between 1415 and 1420, he was the assistant of the renowned painter and illuminator Gentile da Fabriano from whom he acquired his refined, delicate, detailed style. Pisanello also acquired from him a taste for precious materials and beautiful fabrics that can be found in his later paintings. The frescoes in the Doge's Palace at Venice, on which they worked together, have perished as well as the frescoes in the Basilica of St. John Lateran and the palaces of Mantua and Pavia. In 1422, he was reported to be in Mantua in the service of young Ludovico Gonzaga, son of the Marchese of Mantua Gianfrancesco Gonzaga. He continued to work for the Gonzaga family till the 1440s. Giorgio Vasari, an artist and biographer of the Italian Renaissance, states that Pisanello also worked in the workshop of Andrea del Castagno, author of the painted equestrian monument of Niccole da Tolentino (1456) in the Cathedral in Florence. He must also have known Paolo Uccello, the painter of the Battle of San Romano with its many horses. Pisanello's love of drawing horses probably finds its origin in this relationship. But as there is so much unknown of his life, this attribution by Vasari is not reliable and may only be a legend. His Madonna and Quail, now in the Museo di Castelvecchio in Verona, is signed by "Antonius Pisanus". It is tentatively dated at c. 1420. The style is a blend of the styles of Gentile da Fabriano and Stefano da Verona. This might show that Pisanello was also a pupil of the latter in Verona. Pisanello stayed again in Verona in 1424. However, according to some scholars, he painted frescoes about hunting and fishing and jousts in Pavia the same year. These were commissioned by the Duke of Milan Filippo Maria Visconti. There is no trace of these frescoes left. Back in Mantua with the Gonzagas between 1424 and 1426, he painted one of his important surviving works: the fresco Annunciation in San Fermo, Verona. It was used to embellish the funeral monument of Nicole di Brenzoni by the Florentine sculptor Nanni di Bartolo. When Gentile da Fabriano died in Rome between August and October 1427, his work at the Basilica of St. John Lateran was unfinished. Pisanello completed the frescoes of his former master between 1431 and 1432. All these frescoes were destroyed when the basilica was rebuilt in the 17th century by Francesco Borromini. The Kupferstichkabinet in Berlin has a pale sketch of this fresco, drawn by Borromini. While in Rome, he became more and more influenced by the classical style of Renaissance art. His drawings are generally prized as jewels of the quattrocento, and are wonderful examples of the elegant garb of the time, including spectacular hats. In contrast with his contemporaries, his drawings are not drafts for future paintingings but are autonomous work of art. He compiled several books of drawings, detailed and accurate studies of fauna and flora drawn with a poetic naturalism, and elegant costumes. Pisanello traveled to several Italian cities and was introduced to a number of courts. He stayed for a while in Florence. In this period he painted two important portraits: Emperor Sigismund, now in the Kunsthistorisches Museum, Vienna (but the attribution is still contested) and Portrait of a Man (now in the Palazzo Rosso, Genoa). He returned to Verona between 1433 and 1438. His fresco masterpiece from this period is Saint George and the Princess of Trebizond (1436-38) at the Pellegrini Chapel, Sant'Anastasia, Verona. It had to be restored after water seepage badly damaged the fresco at the end of the 19th century. He prepared for this painting with a large number of drawings. Many of these famous drawings are on display in the Louvre, Paris. From 1435, Pisanello became more and more interested in portraiture and medalmaking. He was introduced to Leonello d'Este, Marquess of Ferrara. His famous Portrait of an Este Princess dates from this period. His Vision of Saint Eustace, now at the National Gallery in London, long ascribed to Albrecht Derer because of its perfection of this very fine panel, shows most animals in profile or defined poses with miniature-like delicacy. The story in this small painting (egg tempera on wood) is probably only a pretext for showing "noble" animals (horses, hunting dogs, stag, bear...) and the most noble creature of all: the hunting courtier. In 1438, the Council of Basel negotiated with the Byzantine Emperor John VIII Palaiologos. On this occasion Pisanello struck a commemorative medal of the emperor. He also made some drawings with portraits of the emperor and his retinue (on display at the Louvre, Paris), suggesting |
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PITTONI, Giambattista
Italian Rococo Era Painter, 1687-1767
Italian painter and draughtsman. With Giambattista Tiepolo and Piazzetta, he was the most representative history painter of the Venetian Rococo. Besides altarpieces for Venetian and other churches as well as devotional images for private clients on both sides of the Alps, he painted subjects from mythology and Classical literature for collectors and connoisseurs in a Rococo idiom all his own; it is these secular pictures for which he is best known. Zava Boccazzi's catalogue raisonn of Pittoni's paintings (1979) includes 247 extant autograph works and 117 paintings now lost, destroyed or untraced. Binion's catalogue raisonn? of the artist's drawings (1983) lists 304 sheets. Pittoni's total output must have been far larger, as is evident from the drawings, many of which are studies for unknown works. For instance, Pittoni must occasionally have painted decorations for secular buildings and palazzi, probably in fresco, though none has yet come to light, with the notable exception of the few frescoes with scenes from the Life of Diana, painted in 1727 in the palazzetto Widman in Bagnoli di Sopra near Padua. |
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plato
Born: c. 428 B.C.
Birthplace: Athens, Greece
Died: 347 B.C.
Best Known As: The ancient philosopher who wrote The Republic |
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POLACK, Jan
Polish Northern Renaissance Painter, died 1519 |
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Polenov, Vasily
Russian, 1844-1927
He began a systematic study of drawing in 1856, first with the landscape painter Pavel Cherkasov (1834-1900), then from 1859 to 1861 with Pavel Chistyakov (1832-1919). He also took lessons with Chistyakov, whom he considered his most important teacher, in 1871 and early 1872, after finishing his academic course. From 1863 to 1871 Polenov studied at the St Petersburg Academy of Art, where he met members of the progressive wing of the Russian artistic intelligentsia, and occasionally in the faculty of law at St Petersburg University. The classical education he received at home, his academic training and lessons with Chistyakov led Polenov towards an 'exalted' history painting, although he personally inclined towards landscape. This dualism remained in Polenov's work for the duration, and not until the late 1880s and early 1890s did he achieve a stable relationship between the two forms. The whole of his student career and the initial postgraduate, scholarship period was largely taken up with historical works: from academic compositions, for example the Resurrection of Jairus's Daughter (1871; Pskov, Mus. Hist., Archit. & A.), for which he received the Grand Gold Medal and a travel bursary (in Germany and Italy, 1872-3, and France, 1873-6), to numerous pictures and sketches on subjects from antiquity and medieval history, executed in France or shortly after his departure from there, under the perceptible influence of Paul Delaroche |
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Polk, Charles Peale
American, 1767-1822
American painter. Orphaned as a child, he was raised in Philadelphia, PA, by his uncle, Charles Willson Peale, who taught him to paint. In 1791 Polk moved to Baltimore, MD, where he achieved limited success as a portrait painter. Seeking commissions, he moved to Frederick, MD, in 1796. Over the next five years during travels as an itinerant limner through western Maryland and Virginia he reached his mature style. Abandoning his academic training, Polk developed a distinctive but naive artistic vocabulary with a heightened palette, electric highlights and an exaggerated attenuation of the human form. The portraits of Isaac Hite and his wife Eleanor Madison Hite, as well as James Madison sr and Eleanor Conway Madison (all Middletown, VA, Belle Grove), were commissioned in 1799 and are accepted as his masterpieces. Isaac Hite also commissioned the quintessentially 'republican' portrait of Thomas Jefferson (New York, Victor Spark priv. col.), executed at Monticello in 1799. In 1801 Polk moved to Washington, DC, working as a clerk in the Treasury. During the next 16 years he painted few portraits in oil |
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Pollaiuolo, Jacopo
Approx. 1441-1496
Painter, brother of Antonio Pollaiuolo. He was described as a painter in the membership records of the Compagnia di S Luca, which he joined in 1472. According to tradition, he initially trained under Andrea del Castagno. In his 1480 tax return Piero reported that he had a small house adjoining the family home '...which I use when I have painting to do'. He produced many paintings for the Florentine workshop, |
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Pollard, James
English, 1792-1867
Painter and etcher, son of Robert Pollard. His early career was spent in the shadow of his father, for whom he worked as an etcher of miscellaneous sporting subjects before establishing himself c. 1820 as a sporting painter in his own right. A typical example is Doncaster Races: Horses Starting for the St Leger (1831; Paul Mellon priv. col.). Following a commission from the King's Printseller, Edward Orme, for an inn signboard showing a coach and horses, Pollard began to specialize in coaching scenes. |
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Pompeo Batoni
Italian
1708-1787
Pompeo Batoni Location
Italian painter and draughtsman. In his day he was the most celebrated painter in Rome and one of the most famous in Europe. For nearly half a century he recorded the visits to Rome of international travellers on the GRAND TOUR in portraits that remain among the most memorable artistic accomplishments of the period. He was equally gifted as a history painter, and his religious and mythological paintings were sought after by the greatest princes of Europe. |
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Pompeo Mariani
(Monza, Province of Milan 1857 - Bordighera, Province of Imperia, 1927) was an Italian painter.
The nephew of Mose Bianchi, Mariani abandoned a career in banking to devote himself entirely to painting. His apprenticeship began in 1879 under the guidance of the painter Eleuterio Pagliano, who introduced him to life studies. A trip to Egypt with Uberto DelleOrto in 1881 provided subjects for the works shown at the Brera exhibitions of the next two years. He focused on landscape painting and began to specialise in seascapes in 1883, when he first stayed on the coast of Liguria. The first views of the Zelata area outside Pavia appeared in 1894. His art is characterised by subtle sensitivity in the investigation of the reflection of light on water, captured in different seasons and times of the day to achieve highly atmospheric effects. In was at the beginning of the new century that he began to combine naturalistic landscapes with depictions of the elegant world of high society in fashionable gatherings and cafes. His vast production of landscapes and portraits was regularly presented at the major national and international exhibitions and won numerous official awards.
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Pontormo
Italian Mannerist Painter, 1494-ca.1556
Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter. |
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Pontormo, Jacopo
b Pontormo, nr Empoli, 26 May 1494; d Florence, 31 Dec 1556).
Italian painter and draughtsman. He was the leading painter in mid-16th-century Florence and one of the most original and extraordinary of Mannerist artists. His eccentric personality, solitary and slow working habits and capricious attitude towards his patrons are described by Vasari; his own diary, which covers the years 1554-6, further reveals a character with neurotic and secretive aspects. Pontormo enjoyed the protection of the Medici family throughout his career but, unlike Agnolo Bronzino and Giorgio Vasari, did not become court painter. His subjective portrait style did not lend itself to the state portrait. He produced few mythological works and after 1540 devoted himself almost exclusively to religious subjects. His drawings, mainly figure studies in red and black chalk, are among the highest expressions of the great Florentine tradition of draughtsmanship; close to 400 survive, forming arguably the most important body of drawings by a Mannerist painter. His highly personal style was much influenced by Michelangelo |
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POORTER, Willem de
Dutch Baroque Era Painter, 1608-ca.1648
Dutch painter. His father, Pieter, came from Flanders to Haarlem, where in 1631 works by Willem were recorded for the first time. In 1634 Willem was registered in Haarlem as a master painter, and in 1635 Pieter Casteleijn was named as his pupil. As late as 1643 Pieter Abrams Poorter and Claes Coenraets began their studies with him in Haarlem. Willem is mentioned for the last time in the archives of the Haarlem Guild of St Luke in 1645, the year he left for Wijk bij Heusden. He supposedly studied under Rembrandt, together with his fellow townsman Jacob de Wet. There is no documentation to support this assumption, but a number of de Poorter's small-scale biblical and history paintings bear such a striking likeness to Rembrandt's biblical compositions of c. 1630 that the two hands are often confused. Rembrandt's Presentation in the Temple (1631; The Hague, Mauritshuis; see REMBRANDT VAN RIJN) was copied (Dresden, Gemeldegal. Alte Meister) by de Poorter, who also painted his own version (Kassel, Schloss Wilhelmsh?he). The lighting in de Poorter's Entombment (Guernsey, D. Cevat priv..) was also apparently inspired by Rembrandt's example. Since de Poorter's paintings were first reported in Haarlem in 1631, the year that Rembrandt moved from Leiden to Amsterdam, it seems likely that de Poorter received his training in the Leiden workshop, where Gerrit Dou had also been working since 1628. |
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Portana, Vicente Lopez
Spanish Painter, 1772-1850
was a Spanish painter, considered the best portrait painter of his time. Vicente Lepez y Portaña was born in Valencia on September 19, 1772. His parents were Cristebal Lepez Sanchordi and Manuela Portaña Meer. Vicente Lepez began formally studying painting in Valencia at the age of thirteen, he was a disciple of father Antonio de Villanueva, a Franciscan monk, and he studied at the Academy of San Carlos in his native city. He was seventeen when he won first price in drawing and coloring receiving a scholarship to study in the prestigious Academia Real de Bellas Artes de San Fernando in Madrid. For the following three years in Madrid, he apprenticed with the Valencian painter, Mariano Salvador Maella. Vicente Lepez returned to Valencia in 1794 and subsequently became vice-director of painting at the Academy where he had studied as a boy. |
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POST, Frans
Dutch Baroque Era Painter, 1612-1680
Painter and draughtsman, brother of Pieter Post. He was one of the first trained European landscape artists to paint in the New World. His paintings and drawings without exception depict Brazilian scenery with exotic buildings, plants, animals and natives. He probably received his early training from his father and was also influenced by his brother's early landscapes, although no works exist from this period. When Johan Maurits, Count of Nassau-Siegen went to Brazil as Governor General of the Dutch colony in the north-east in October 1636, Frans Post, together with ALBERT ECKHOUT, was among the artists and scientists on board to record various aspects of Brazilian life, landscape, |
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POTTER, Paulus
Dutch Baroque Era Painter, 1625-1654
Son of Pieter Potter. He was related through his mother, Aechtie Pouwels (d 1636), to the wealthy and powerful von Egmont and Semeyns families, who held important offices in Enkhuizen and at the court in The Hague. He worked in his father's studio in Amsterdam during the 1630s and, like him, painted history subjects that show the strong influence of Claes Moeyaert, with whom Paulus may also have studied. In the painting Abraham Returning from Canaan he adapted the landscape setting from an etching by Moses van Uyttenbroeck and the figures from works by Moeyaert from over ten years earlier. Significantly, however, he redistributed the numerous animals and figures that Moeyaert had aligned evenly across the frontal plane; Potter placed them to one side, permitting a view into the deep distance where other animals can be seen. Potter followed his father more than Moeyaert in searching for ways to integrate his figures with the landscape, |
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POURBUS, Frans the Elder
Netherlandish painter (b. 1545, Bruges, d. 1581, Antwerpen).
was a Flemish Renaissance painter. He was known primarily for his religious and portrait painting and worked mainly in Antwerp. His father was painter Pieter Pourbus and his son was painter Frans Pourbus the younger. |
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POURBUS, Frans the Younger
Flemish painter (b. 1569, Antwerpen, d. 1622, Paris).
was a Flemish painter, son of Frans Pourbus the Elder and grandson of Pieter Pourbus. He was born in Antwerp and died in Paris. He is also referred to as "Frans II". Pourbus worked for many of the highly influential people of his day, including the Brussels-based Spanish Regents of the Netherlands, the Duke of Mantua and Marie de' Medici, Queen of France. Works of his can be found in the Louvre, the Prado, the Rijksmuseum, the Royal College of Art, |
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Poussin
Les Andelys 1594 - Rome 1665 |
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POUSSIN, Nicolas
French Baroque Era Painter, 1594-1665
French painter and draughtsman, active in Italy. His supreme achievement as a painter lies in his unrivalled but hard-won capacity to subordinate dramatic narrative and the expression of extreme states of human passions to the formal harmony of designs based on the beauty and precision of abstract forms. The development of his art towards this end was focused on the search for a point of equilibrium and synthesis between the forces of the Classical and the Baroque around which most critical debate in Rome was concentrated during the 1630s. Poussin did not aspire to the classicism of Raphael's idealized human forms or Michelangelo's re-embodiment of the physical splendours of the antique world, nor did he attempt to vie with the bravura and energy of Annibale Carracci's treatment of Classical mythology in the Galleria of the Palazzo Farnese in Rome. Equally he was not concerned with the illusionistic effects and heightened emotionalism of Baroque artists such as Pietro da Cortona and Lanfranco. He was concerned above all with interpreting his subject-matter, whether Classical or religious, and telling a story with the greatest possible concentration of emotional response, |
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Poynter, Sir Edward John
English Classicist Painter, 1836-1919
English painter, draughtsman, decorative designer and museum official. He came from an artistic family: his great-grandfather was Thomas Banks the sculptor, and Ambrose Poynter, his father, was an architect and watercolour painter. Edward began studying art in 1852 under Thomas Shotter Boys, a friend of his father. In 1853-4 Poynter visited Rome, where he was greatly impressed by the large-scale academic painting of Frederic Leighton. Returning to London, he studied at Leigh's Academy and the studio of William Dobson (1817-1898). Poynter entered the Royal Academy Schools in 1855 but his admiration for French painting led him to Charles Gleyre's studio in Paris the following year. He remained there until 1859, with fellow students George Du Maurier, Thomas Armstrong and Whistler; their activities are described in Du Maurier's novel Trilby (1894). At this time Poynter received his first commissions for decorative work. He began designing stained glass and painting furniture and, after his return to England, he was employed by his friend the architect William Burges to decorate the ceiling of Waltham Abbey, Essex, in 1860. |
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Pradilla, Francisco
Spanish, 1848-1921
Spanish painter and museum official. He first studied in Saragossa with the stage designer Mariano Pescador (d 1886), and in 1866 moved to Madrid where he began to work with the stage designers and decorators Ferri and Busato. He entered the Escuela Superior de Pintura, Escultura y Grabado and also attended the Academia de Acuarelistas. In 1873 Pradilla and his fellow student Casto Plasencia (1846-90) won history painting scholarships to study at the newly founded Academia Espaola de Bellas Artes in Rome. In 1874 he sent from Rome a copy of Raphael's Dispute over the Holy Sacrament, a work Pradilla completed in collaboration with Alejandro Ferrant (b 1844), another Spanish scholarship holder. During Pradilla's second and third years abroad he travelled through France, visiting the Paris Exposition Universelle of 1875, and Italy, where he was particularly impressed by Venice and the works of Veronese, Titian and Jacopo Tintoretto. Pradilla won a major prize in 1878 at the Exposicien Nacional de Bellas Artes in Madrid; as a result of this success he received the commission for another large picture on a historical theme, the Surrender of Granada (1882; in situ) for the Palacio del Senado (now Pal. de las Cortes) in Madrid. This work shows Pradilla's concern to paint from life in his treatment of the landscape of Granada. He produced other paintings on related subjects, including Mad Queen Joanna Imprisoned at Tordesillas (priv. col., see Pardo Canalis, pl. xviii) and the Sigh of the Moor (Madrid, Rodriguez Bauze priv. col., Pardo Canalis, pl. xvii). Pradilla also painted lively scenes of local life and colour. The years of his stay in Rome, where he was director of the Academia Espa?ola between 1881 and 1883, |
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Pratt, Matthew
American Colonial Era Painter, 1734-1805
.American painter. One of ten children of a goldsmith, he was apprenticed at 15 to his uncle, James Claypoole. He spent almost seven years as an apprentice and eight as a painter of portraits and signs for taverns, shops and counting houses. In 1764 he went to England, |
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PREDIS, Ambrogio de
Italian Early Renaissance Painter, ca.1455-1508
Painter and illuminator, half-brother of Cristoforo de Predis. He began his career as an illuminator, working with Cristoforo. His first documented works are seven miniatures for a Book of Hours (1472; destr.) for Vitaliano Borromeo (1451-95) and a Book of Hours for Francesco Borromeo. He was paid for the latter in 1474, and the codex can probably be identified with the Horae Beatae Virginis Mariae (ex-H. P. Kraus, New York, 1987; Suida, 1959). From 1479 he artist worked in the Milanese mint, together with his brother Bernardino. For some years Giovanni Ambrogio also worked at the court of Ludovico Sforza ('il Moro'), especially as a portrait painter. This is borne out by the charcoal drawing of Bianca Maria Sforza (1492; Venice, Accad.), which dates from a period before her marriage to Emperor Maximilian I. The portrait was ordered by her future husband, through Frederick III, Duke of Saxony, to give him an idea of her appearance. It was favourably received, and later a painting of the same subject (Washington, DC, N.G.A.) was commissioned from Giovanni Ambrogio. |
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PRETI, Mattia
Italian Baroque Era Painter, 1613-1699
Italian painter and draughtsman. Although he was trained and had his first success as a painter in Rome during the 1630s and 1640s, he is traditionally associated with the Neapolitan school. It was in Naples between 1653 and 1660 that he made his most lasting mark (see fig. 1), contributing to the evolution of the exuberant late Baroque style and providing an important source of inspiration to later generations of painters, notably to Francesco Solimena. From 1661 he was based in Malta, where his most substantial undertaking was the decoration of St John's, Valletta. Preti's mature style is intensely dramatic and unites a Caravaggesque realism and expressive chiaroscuro with the grandeur and theatricality of Venetian High Renaissance painting. |
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