Gabriele Caliari (1568–1631) was an Italian of the late-Renaissance period. He was the eldest son of Paolo Veronese, was born in 1568, and died of the plague. After training in the workshop of his father, he seems to have painted few pictures of his own, and devoted himself chiefly to commerce, going on painting just for pleasure. [1]
His work is included in the collection of the Art Institute of Chicago, [2] the Rijksmuseum, [3] Palazzo Ducale [4] and the National Gallery of Art. [5]
Giovanni Antonio Canal, commonly known as Canaletto, was an Italian painter from the Republic of Venice, considered an important member of the 18th-century Venetian school.
Pompeo Girolamo Batoni was an Italian painter who displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their "Grand Tour" led the artist to specialize in portraits. Batoni won international fame largely thanks to his customers, mostly British of noble origin, whom he portrayed, often with famous Italian landscapes in the background. Such Grand Tour portraits by Batoni were in British private collections, thus ensuring the genre's popularity in Great Britain. One generation later, Sir Joshua Reynolds would take up this tradition and become the leading English portrait painter. Although Batoni was considered the best Italian painter of his time, contemporary chronicles mention his rivalry with Anton Raphael Mengs.
Paolo Caliari, known as Paolo Veronese, was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the "great trio that dominated Venetian painting of the cinquecento" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced by Titian.
Luca Cambiaso was an Italian painter and draughtsman and the leading artist in Genoa in the 16th century. He is considered the founder of the Genoese school who established the local tradition of historical fresco painting through his many decorations of Genoese churches and palaces. He produced a number of poetic night scenes. He was a prolific draughtsman who sometimes reduced figures to geometric forms. He was familiarly known as Lucchetto da Genova.
Marcantonio Franceschini was an Italian painter of the Baroque period, active mostly in his native Bologna. He was the father and teacher of Giacomo Franceschini.
The Crucifixion of Saint Wilgefortis is a c. 1497 triptych by the Early Netherlandish painter Hieronymus Bosch. The subject of the painting has been uncertain, and it has also been known as the Triptych of the Crucified Martyr, or The Crucifixion of Saint Julia, but is now believed to depict Saint Wilgefortis.
Benedetto Caliari (1538–1598) was an Italian painter who was born into a family of artists. Benedetto's father Gabriele Caliari was a stonecutter. Benedetto's brother Paolo Caliari is better known as Veronese.
Andrea Vicentino was an Italian painter of the late-Renaissance or Mannerist period. He was a pupil of the painter Giovanni Battista Maganza. Born in Vicenza, he was also known as Andrea Michieli or Michelli. He moved to Venice in the mid-1570s and registered in the Fraglia or guild of Venetian painters in 1583. He worked alongside Tintoretto at the Palazzo Ducale in Venice, helping paint The Arrival of Henry III at Venice at the Sala delle Quattro Porte as well as works in the Sala del Senato and the Sala dello Scrutinio. He also painted the altarpiece Madonna of the Rosary for the Treviso Cathedral, God the Father with Three Theological Virtues (1598) for the church in Gambara, and St Charles Borromeo for a church in Mestre. Paintings by him exist in a number of galleries including the Raising of Lazarus at the National Museum of Fine Arts, Malta.
Lorenzo Leonbruno, also known as Lorenzo de Leombeni, was an Italian painter during the early Renaissance period. He was born in Mantua (Mantova), an Italian commune in Lombardy, Italy. Leonbruno is most well known for being commissioned by the court of Francesco Gonzaga, Marquis of Mantua, and his wife Isabella d'Este. The patronage continued with their eldest son Federico II Gonzaga, who was the fifth Marquis of Mantua. Leonbruno was the court painter for the Gonzaga family from 1506–24.
The Vendramin were a rich merchant family of Venice, Italy, who were among the case nuove or "new houses" who joined the patrician class when the Libro d'Oro was opened after the battle of Chioggia. Andrea Vendramin served as the sole Vendramin Doge from 1476–78, at the height of Venetian power, though in 1477 an Antonio Feleto was imprisoned, then banished, for remarking in public that the Council of the Forty-One must have been hard-pressed to elect a cheesemonger Doge. In his youth, Andrea and his brother Luca, in joint ventures, used to ship from Alexandria enough goods to fill a galley or a galley and a half, Malipiero recorded in retrospect: even his factors grew rich managing his affairs. At this period, mentions of Vendramins in various fields of business occur; Luca Vendramin (d.1527) founded a successful bank on the still-wooden Rialto Bridge with three Capelli brothers in 1507, but in his will of 1524 forbade his sons from continuing in banking. An early text on accounting mentions that the Vendramins' soap is so reliably good that you can buy it without inspecting it. Later they owned an important theatre.
Francesco Albotto (1721–1757) was an Italian painter from Venice, mainly producing vedute. He was a pupil of Michele Marieschi. After Marieschi's death, Albotto married his widow and took over his shop, and continued to produce paintings in a similar style until his own death, which has led to some problems in attributing paintings to Marieschi versus Albotto.
Jacopo Strada was an Italian polymath courtier, painter, architect, goldsmith, inventor of machines, numismatist, linguist, collector, and merchant of works of art. His portrait by Titian has kept his image familiar.
The Galleria Estense is an art gallery in the heart of Modena, centred around the collection of the d’Este family: rulers of Modena, Ferrara and Reggio from 1289 to 1796. Located on the top floor of the Palazzo dei Musei, on the St. Augustine square, the museum showcases a vast array of works ranging from fresco and oil painting to marble, polychrome and terracotta sculpture; musical instruments; numismatics; curios and decorative antiques.
Giustino Menescardi (1720–1776) was an Italian painter and scenic designer, active in Northern Italy and Venice in a late Baroque style.
Benedetta Cappa was an Italian futurist artist who has had retrospectives at the Walker Art Center and the Solomon R. Guggenheim Museum. Her work fits within the second phase of Italian Futurism.
Save Venice Inc. is a U.S. non-profit organization dedicated to the conservation of art and architecture and the preservation of cultural heritage sites in Venice, Italy. Headquartered in New York City, it has an office in Venice, a chapter in Boston, and supporters across the United States and Europe.
The Metropolitan Museum of Art has on display a complete studio from the Palazzo ducale di Gubbio. Consisting of period woodwork from late 15th century Italy, the studio was commissioned for Federico da Montefeltro.
Minerva between Geometry and Arithmetic is a 1550 fresco fragment, usually attributed to Paolo Veronese but by some art historians to Anselmo Canera or Giambattista Zelotti. It was painted for the Palazzo de Soranzi in Castelfranco Veneto but now in the Palazzo Balbi in Venice.
Gabriele Patriarca was an Italian informal painter and member of the art movement Scuola Romana.
Media related to Gabriele Caliari at Wikimedia Commons
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