This list of Catholic artists concerns artists known, at least in part, for their works of religious Catholic art. It also includes artists whose position as a Roman Catholic priest or missionary was vital to their artistic works or development. It primarily features artists who did at least some of their artwork for Catholic churches, including Eastern Catholic Churches in communion with the Pope.
Note that this is not a list of all artists who have ever been members of the Catholic Church. Further, seeing as many to most Western European artists from the 5th century to the Protestant Reformation did at least some Catholic religious art, this list will supplement by linking to lists of artists of those eras rather than focusing on names of those eras.
Simone Martini was an Italian painter born in Siena. He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style.
Anton Raphael Mengs was a German painter, active in Dresden, Rome, and Madrid, who while painting in the Rococo period of the mid-18th century became one of the precursors to Neoclassical painting, which replaced Rococo as the dominant painting style in Europe.
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).
Luis de Morales was a Spanish painter active during the Spanish Renaissance in the 16th century. Known as "El Divino", most of his work was of religious subjects, including many representations of the Madonna and Child and the Passion.
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.
Giovanni Battista Cima, also called Cima da Conegliano, was an Italian Renaissance painter, who mostly worked in Venice. He can be considered part of the Venetian school, though he was also influenced by Antonello da Messina, in the emphasis he gives to landscape backgrounds and the tranquil atmosphere of his works.
Alonso Cano Almansa or Alonzo Cano was a Spanish painter, architect, and sculptor born in Granada.
Giulio Campi was an Italian painter and architect. His brothers Vincenzo Campi and Antonio Campi were also renowned painters.
Alonso González de Berruguete was a Spanish painter, sculptor and architect. He is considered to be the most important sculptor of the Spanish Renaissance, and is known for his emotive sculptures depicting religious ecstasy or torment.
Events from the year 1578 in art.
Ludovico Mazzolino - also known as Mazzolini da Ferrara, Lodovico Ferraresa, and Il Ferrarese - was an Italian Renaissance painter active in Ferrara and Bologna.
Franz Ittenbach was a German religious painter, in the Nazarene style, associated with the Düsseldorfer Malerschule.
Matteo di Giovanni was an Italian Renaissance artist from the Sienese School.
Marco d'Oggiono was an Italian Renaissance painter and a chief pupil of Leonardo da Vinci, many of whose works he copied.
Baroque sculpture is the sculpture associated with the Baroque style of the period between the early 17th and mid 18th centuries. In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms—they spiralled around an empty central vortex, or reached outwards into the surrounding space. Baroque sculpture often had multiple ideal viewing angles, and reflected a general continuation of the Renaissance move away from the relief to sculpture created in the round, and designed to be placed in the middle of a large space—elaborate fountains such as Gian Lorenzo Bernini‘s Fontana dei Quattro Fiumi, or those in the Gardens of Versailles were a Baroque speciality. The Baroque style was perfectly suited to sculpture, with Bernini the dominating figure of the age in works such as The Ecstasy of St Theresa (1647–1652). Much Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains, or fused sculpture and architecture to create a transformative experience for the viewer. Artists saw themselves as in the classical tradition, but admired Hellenistic and later Roman sculpture, rather than that of the more "Classical" periods as they are seen today.
Gabriele Paleotti was an Italian cardinal and Archbishop of Bologna. He was a significant figure in, and source about, the later sessions of the Council of Trent, and much later a candidate for the papacy in 1590, and is now mostly remembered for his De sacris et profanis imaginibus (1582), setting out the Counter-Reformation church's views on the proper role and content of art.
Giovanni da Nola (1478–1559), also known as Giovanni Merliano, was an Italian sculptor and architect of the Renaissance, active in Naples.
Friar Nicolás Borrás (1530–1610) was a Spanish Renaissance Catholic monk and painter, active in Valencia.
Pedro Campaña (1503–1586) was a Flemish painter of the Renaissance period, mainly active in Italy and Spain. His actual name was Pieter de Kempeneer, translated into French as Champaigne, and was also known as Peter van de Velde.
Papal appointment was a medieval method of selecting the Pope. Popes have always been selected by a council of Church fathers, however, Papal selection before 1059 was often characterized by confirmation or nomination by secular European rulers or by the preceding pope. The later procedures of the Papal conclave are in large part designed to prohibit interference of secular rulers, which to some extent characterized the first millennium of the Roman Catholic Church, e. g. in practices such as the creation of crown-cardinals and the claimed but invalid jus exclusivae. Appointment may have taken several forms, with a variety of roles for the laity and civic leaders, Byzantine and Germanic emperors, and noble Roman families. The role of the election vis-a-vis the general population and the clergy was prone to vary considerably, with a nomination carrying weight that ranged from nearly determinative to merely suggestive, or as ratification of a concluded election.
AGNES fl. 12th century German miniaturist and engraver. Daughter of the Margrave .
Agnes Meissen abbess Quedlinburg 1184.
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