Annibale Carracci was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades.
Filippino Lippi was an Italian painter working in Florence, Italy during the later years of the Early Renaissance and first few years of the High Renaissance.
Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini, and his brother-in-law was Andrea Mantegna. He was considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and detailed shadings. His sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian.
Masolino da Panicale was an Italian painter. His best known works are probably his collaborations with Masaccio: Madonna with Child and St. Anne (1424) and the frescoes in the Brancacci Chapel (1424–1428).
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.
Lorenzo Lotto was an Italian painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists.
Tintoretto was an Italian painter identified with the Venetian school. His contemporaries both admired and criticized the speed with which he painted, and the unprecedented boldness of his brushwork. For his phenomenal energy in painting he was termed Il Furioso. His work is characterised by his muscular figures, dramatic gestures and bold use of perspective, in the Mannerist style.
Carlo Crivelli was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione, and Mantegna. He left the Veneto by 1458 and spent most of the remainder of his career in the March of Ancona, where he developed a distinctive personal style that contrasts with that of his Venetian contemporary Giovanni Bellini.
Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.
Bernardo Strozzi, named il Cappuccino and il Prete Genovese was an Italian Baroque painter and engraver. A canvas and fresco artist, his wide subject range included history, allegorical, genre and portrait paintings as well as still lifes. Born and initially mainly active in Genoa, he worked in Venice in the latter part of his career. His work exercised considerable influence on artistic developments in both cities. He is considered a principal founder of the Venetian Baroque style. His powerful art stands out by its rich and glowing colour and broad, energetic brushstrokes.
Giuseppe Maria Crespi, nicknamed Lo Spagnuolo, was an Italian late Baroque painter of the Bolognese School. His eclectic output includes religious paintings and portraits, but he is now most famous for his genre paintings.
Francesco Maria del Monte, full name Francesco Maria Bourbon del Monte Santa Maria, was an Italian Cardinal, diplomat and connoisseur of the arts. His fame today rests on his early patronage of the important Baroque master Caravaggio, and on his art collection which provides provenance for many important works of the period.
Francesco de' Rossi was an Italian Mannerist painter who lived and worked mainly in Florence, but also produced several works in Rome. He is known by many names, prominently the adopted name Francesco Salviati or as Il Salviati, but also Francesco Rossi and Cecchino del Salviati.
Alessandro Turchi was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname L'Orbetto. His style has been described as soft and Caravaggesque at the same time.
San Cassiano is a 14th-century Roman Catholic church located in the San Polo sestiere of the Italian city of Venice. A church has stood on the site since 726 with the present building dedicated to Saint Cassian of Imola being consecrated in 1376 and re-modelled during the 17th century. It has a plain exterior with several adjacent buildings overlapping it. Its interior however is richly decorated in a Baroque style.
Portrait of a Knight of Malta is a c.1515 oil on canvas painting by Titian of a knight belonging to the Order of Malta. It is now in the Uffizi in Florence. The last bead of the rosary held by the knight bears the number XXXV (35), showing the subject's age at the time of the portrait. W.F. Dickes. argued that he was Stefano Colonna, the condottiero who led the republican resistance during the siege of Florence. cited in
Annunciation is an oil on canvas painting, now in the Uffizi in Florence. It and The Martyrdom of Saint Justina were bought in Venice by Paolo del Sera, intermediary and agent for cardinal Leopoldo de' Medici in 1654.
The Martyrdom of Saint Justina is a c.1570-1575 oil on canvas painting by Paolo Veronese with assistance from his younger brother, originally produced for Santa Giustina Basilica in Padua and now in the Uffizi in Florence. It shows the martyrdom of Justina of Padua.
Madonna and Child with Saint Catherine of Alexandria is a c.1550 oil on panel painting by the studio of Titian, now in the Galleria degli Uffizi. It was restored around the end of the 18th century, when the present carved and gilded frame was probably added.
