The Francesco St Jerome is an oil painting on copper attributed to the circle of the Italian Renaissance artist Palma the Younger, dating from c. 1595.
The painting was believed to possibly be the lost original work by Palma when it was rediscovered in January 2008 and became known to the public upon its featuring in a number of newspapers in the United Kingdom and around the world.
Named after Palma's patron, Francesco Maria II della Rovere, Duke of Urbino. The Duke is believed to have commissioned the original composition and the Francesco St Jerome is the finest surviving example of the now believed lost masterpiece.
After its discovery, the painting was loaned for two years to The Courtauld Gallery as a teaching aid to students. Offering for academic study a rare surviving example of copper painting from the period, This included extensive research and restoration in an attempt to ascertain its authorship.
The painting dates from the height of Palma's fame and artistic ability and was most likely created by one of his students or a pupil in the workshop of Hendrik Goltioz, who famously produced an engraving of the composition. One of the most outstanding aspects of the painting is its fine detail and vividly bright colours: paintings on copper often retain their brightness and condition better than those on canvas. The painting is currently part of The Albertyne Collections on loan to History Portal, a not for profit community, arts, history, and cultural focus organisation.
Jan Brueghelthe Elder was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Bruegel the Elder. A close friend and frequent collaborator with Peter Paul Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century.
Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. He was raised in the household of Jacopo Bellini, formerly thought to have been his father, but now that familial generational relationship is questioned. An older brother, Gentile Bellini was more highly regarded than Giovanni during his lifetime, but the reverse is true today. His brother-in-law was Andrea Mantegna.
Andrea Mantegna was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini.
BartolomeoMontagna was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's Lives as a student of Andrea Mantegna but this is widely contested by art historians.
Federico Barocci was an Italian Renaissance painter and printmaker. His original name was Federico Fiori, and he was nicknamed Il Baroccio. His work was highly esteemed and influential, and foreshadows the Baroque of Rubens. He is generally considered the greatest and the most individual painter of his time in central Italy.
Domenico Zampieri, known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters.
Vincenzo Foppa was an Italian painter from the Renaissance period. While few of his works survive, he was an esteemed and influential painter during his time and is considered the preeminent leader of the Early Lombard School. He spent his career working for the Sforza family, Dukes of Milan, in Pavia, as well as various other patrons throughout Lombardy and Liguria. He lived and worked in his native Brescia during his later years.
Francesco Botticini was an Italian painter of the Early Renaissance. He was born in Florence, where he remained active until his death in 1498. Although there are only few documented works by Botticini, a considerable corpus has been confidently attributed to him on the basis of style including a number of altarpieces, dozens of small-scale religious panels and a few portraits.
Joos van Cleve was a leading painter active in Antwerp from his arrival there around 1511 until his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting, he combines the traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles.
The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece. It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.
The Pietà is one of the last paintings by the Italian master Titian, and in its final, extended state was left incomplete at his death in 1576, to be completed by Palma Giovane. Titian had intended it to hang over his grave, and the two stages of painting were to make it fit in two different churches. It is now in the Gallerie dell'Accademia in Venice.
Croatian art describes the visual arts in Croatia, and art by Croatian artists from prehistoric times to the present. In Early Middle Ages, Croatia was an important centre for art and architecture in south eastern Europe. There were many Croatian artists during the Medieval period, and the arts flourished during the Renaissance. Later styles in Croatia included Baroque and Rococo.
A modello, from Italian, is a preparatory study or model, usually at a smaller scale, for a work of art or architecture, especially one produced for the approval of the commissioning patron. The term gained currency in art circles in Tuscany in the fourteenth century. Modern definitions in reference works vary somewhat. Alternative and overlapping terms are "oil sketch" (schizzo) and "cartoon" for paintings, tapestry, or stained glass, maquette, plastico or bozzetto for sculpture or architecture, or architectural model.
Domenico Robusti, also known as Domenico Tintoretto, was an Italian painter from Venice. He grew up under the tutelage of his father, the renowned painter Jacopo Tintoretto.
DenisCalvaert was an Antwerp-born Flemish painter who spent most of his life in Italy, where he was known as Dionisio Fiammingo or simply Il Fiammingo. Calvaert was a profound student of architecture, anatomy, and history. His works are characterized by their advanced composition and colouring.
Portrait of Laura Dianti is a c. 1520–25 painting by Titian, now held in the H. Kisters Collection at Kreuzlingen. It is signed "TICI/ANVS F." The portrait features Laura Dianti, mistress, and later wife of the Duke of Ferrara Alfonso I d'Este and an African page. She is dressed in a blue dress with her hand placed on the shoulder of her page as he looks up at her. The painting is possibly associated with a portrait of Alfonso I d'Este. It is also controversial in that it was used to contest the legitimacy of the pair's marriage after the duke's death. It traveled through many locations and was initially thought to be one of many copies until a restoration uncovered a signature by Titian.
Theatrum Pictorium, or Theatre of Painting, is a short-hand name of a book published in the 1660s by David Teniers the Younger for his employer, the Archduke Leopold Wilhelm of Austria. It catalogs 243 Italian paintings in the Archduke's collection of over 1300 paintings. The paintings are reproduced by engravings made by various engravers after reduced-size copies (modelli) created by Teniers. David Teniers' brother Abraham Teniers was involved in organizing the publication of the work. A second edition with page numbers was published in 1673.
The Pesaro Altarpiece is an oil-on-panel painting by the Italian artist Giovanni Bellini, dated to some time between 1471 and 1483. It is considered one of Bellini's first mature works, though there are doubts on its dating and on who commissioned it. The work's technique is not only an early use of oils but also of blue smalt, a by-product of the glass industry. It had already been used in the Low Countries in Bouts' 1455 The Entombment, but this marked smalt's first use in Italian art, twenty years before Leonardo da Vinci used it in Ludovico il Moro's apartments in Milan in 1492. Bellini also uses the more traditional lapis lazuli and azurite for other blues in the work.
Oil on copper painting is the process of creating artworks by using oil paints with copper as the substrate. This is sometimes referred to as "copper as canvas" because canvas is the most well known surface material used for oil paintings.
Madonna and Child with Four Saints or Madonna and Child with Saints John the Baptist, Paul, Mary Magdalene and Jerome is a c. 1516-1520 oil on panel painting by Titian, now in the Gemäldegalerie in Dresden. It belongs to the sacra conversazione genre and features saints John the Baptist, Paul, Mary Magdalene and Jerome.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
