Giovanni Santi (c. 1435 – 1 August 1494) was an Italian painter, decorator, and the father of Raphael. He was born in 1435 at Colbordolo in the Duchy of Urbino. He was a petty merchant for a time; he then studied under Piero della Francesca. He was influenced by Fiorenzo di Lorenzo, and seems to have been an assistant and friend of Melozzo da Forlì. He was court painter to the Duke of Urbino and painted several altarpieces, two now in the Berlin Museum, a Madonna in the church of San Francesco in Urbino, one at the church of Santa Croce in Fano, one in the National Gallery at London, and another in the gallery at Urbino; an Annunciation at the Brera in Milan; a resurrected Christ in the Museum of Fine Arts, Budapest; and a Jerome in the Lateran. He died in Urbino.
His poetry includes an epic in honor of one of his patrons, Federico III da Montefeltro, Duke of Urbino, followed a discourse on painting. The event commemorates a visit to Mantua, where the Duke marveled at the skill of Andrea Mantegna, he then goes on to comment that "In this splendid and gentle art/ so many have been famous in our century/ that it make others seem destitute".
Santi then goes on to list famous names in painting, as known to him, this constitutes a remarkable concise list of 27 prominent painters of late 15th-century Italy and the Flanders, as one painter would have known. Santi's list reproduced in no order:
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Piero della Francesca, originally named Piero di Benedetto, was an Italian painter of the Early Renaissance. To contemporaries he was also known as a mathematician and geometer. Nowadays Piero della Francesca is chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo.
In art history, "Old Master" refers to any painter of skill who worked in Europe before about 1800, or a painting by such an artist. An "old master print" is an original print made by an artist in the same period. The term "old master drawing" is used in the same way.
The cultural and artistic events of Italy during the period 1400 to 1499 are collectively referred to as the Quattrocento from the Italian word for the number 400, in turn from millequattrocento, which is Italian for the year 1400. The Quattrocento encompasses the artistic styles of the late Middle Ages, the early Renaissance, and the start of the High Renaissance, generally asserted to begin between 1495 and 1500.
The Gallerie dell'Accademia is a museum gallery of pre-19th-century art in Venice, northern Italy. It is housed in the Scuola della Carità on the south bank of the Grand Canal, within the sestiere of Dorsoduro. It was originally the gallery of the Accademia di Belle Arti di Venezia, the art academy of Venice, from which it became independent in 1879, and for which the Ponte dell'Accademia and the Accademia boat landing station for the vaporetto water bus are named. The two institutions remained in the same building until 2004, when the art school moved to the Ospedale degli Incurabili.
Melozzo da Forlì was an Italian Renaissance painter and architect. His fresco paintings are notable for the use of foreshortening. He was the most important member of the Forlì painting school.
Antoniazzo Romano, born Antonio di Benedetto Aquilo degli Aquili was an Italian Early Renaissance painter, the leading figure of the Roman school during the 15th century.
The Ducal Palace is a Renaissance building in the Italian city of Urbino in the Marche. One of the most important monuments in Italy, it is listed as UNESCO World Heritage Site since 1998.
Palazzo dei Diamanti is a Renaissance palace located on Corso Ercole I d'Este 21 in Ferrara, region of Emilia Romagna, Italy. The main floor of the Palace houses the Pinacoteca Nazionale di Ferrara.
The Portrait of Elisabetta Gonzaga is a painting from around 1504, attributed to the Italian Renaissance artist Raphael and housed in the Uffizi Gallery, Florence.
The decade of the 1490s in art involved some significant events.
The decade of the 1480s in art involved some significant events.
The decade of the 1460s in art involved some significant events.
The decade of the 1450s in art involved many significant events, especially in sculpture.
The decade of the 1430s in art involved some significant events.
The decade of the 1440s in art involved some significant events.
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo's Last Judgement of the 1530s.
The Lives of the Most Excellent Painters, Sculptors, and Architects, also known as The Lives, is a series of artist biographies written by 16th-century Italian painter and architect Giorgio Vasari, which is considered "perhaps the most famous, and even today the most-read work of the older literature of art", "some of the Italian Renaissance's most influential writing on art", and "the first important book on art history". The title is often abridged to just the Vite or the Lives.
The Ideal City is the title given to three strikingly similar Italian Renaissance paintings with unresolved attribution. Being kept at three different places they are most commonly referred to by their location: The Ideal city of Urbino, Baltimore, and Berlin. Hubert Damisch who has written at length about the paintings refers to them as the "Urbino perspectives" or "panels". The three paintings are dated to the late 15th c. and most probably they have different authors but various attribution have been advanced for each without any consensus. There is also a discussion about the purpose of the paintings as they are all in an unusual elongated format . In 2012 The Baltimore and Urbino panels were shown at a joint exhibition, with the Berlin painting being presented in a copy as the original is too fragile to be shipped abroad.
The Master of Pratovecchio was an Italian painter of the Renaissance, named by Roberto Longhi in a 1952 article on the basis of stylistic similarities of a number of works to an altarpiece painted for the monastery of San Giovanni Evangelista in Pratovecchio. The centre panel of the triptych, depicting the Assumption of the Virgin is currently on deposit in Arrezo; the left and right side-panels are in the National Gallery, London.