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.
Lorenzo Lotto was an Italian Renaissance 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.
Alessandro Bonvicino, more commonly known as Moretto, or in Italian Il Moretto da Brescia, was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. The majority of these are on canvas, but a considerable number, including some large pieces, are created on wood panels. There are only a few surviving drawings from the artist.
Innocenzo Francucci, generally known as Innocenzo da Imola, was an Italian painter and draftsman.
Massimo Stanzione was an Italian Baroque painter, mainly active in Naples, where he and his rival Jusepe de Ribera dominated the painting scene for several decades. He was primarily a painter of altarpieces, working in both oils and fresco. His main subject matter was biblical scenes. He also painted portraits and mythological subjects. He had many pupils and followers as his rich color and idealized naturalism had a large influence on other local artists, such as Francesco Solimena. In 1621 Pope Gregory XV gave him the title of Knight of the Golden Spur and Pope Urban VIII made him a knight of St. John around 1624 and a knight of the Order of Christ in 1627. From then on, he liked to sign his works as "EQUES MAXIMUS".
The Basilica of Saint Nicholas of Tolentino is a Roman Catholic church and minor basilica that is part of the Augustinian monastery in the hill-town of Tolentino, province of Macerata, Marche, central Italy. The church is a former cathedral of the Roman Catholic Diocese of Tolentino, suppressed in 1586.
The decade of the 1440s in art involved some significant events.
The mystical marriage of Saint Catherine covers two different subjects in Christian art arising from visions received by either Catherine of Alexandria or Catherine of Siena (1347–1380), in which these virgin saints went through a mystical marriage wedding ceremony with Christ, in the presence of the Virgin Mary, consecrating themselves and their virginity to him.
The Master of Frankfurt was a Flemish Renaissance painter active in Antwerp between about 1480 and 1520. Although he probably never visited Frankfurt am Main, his name derives from two paintings commissioned from patrons in that city, the Holy Kinship in the Frankfurt Historical Museum and a Crucifixion in the Städel museum.
The San Zaccaria Altarpiece is a painting by the Italian Renaissance painter Giovanni Bellini, executed in 1505 and located in the church of San Zaccaria, Venice.
The Fano Altarpiece is a painting by the Italian Renaissance artist Pietro Perugino, executed in 1497, and housed in the church of Santa Maria Nuova, Fano, central Italy. It also includes a lunette with a Pietà and several predella panels.
The Bardi Altarpiece, is an Italian Mannerist painting by the Italian painter Parmigianino, dating from c. 1521 and housed in the church of Santa Maria at Bardi, Emilia-Romagna, Italy.
The Mystic Marriage of Saint Catherine is a painting by Correggio dating about the mid-1520s currently held and exhibited at the Louvre in Paris, France.
(The) Mystic(al) Marriage of Saint/St. Catherine may refer to any of a large number of paintings of the Mystical marriage of Saint Catherine, a few of which are:
The Mystic Marriage of St. Catherine is a c. 1480 oil-on-oak painting by the Early Netherlandish painter Hans Memling, now in the Metropolitan Museum of Art, New York. The Virgin Mary sits on a throne in a garden holding the Child Jesus in her lap. Mother and child are flanked by angels playing musical instruments, with St Catherine of Alexandria to the left opposite St Barbara on the right. The male figure standing slightly behind the celestial group presumably commissioned the painting as a devotional donor portrait.
Mystic Marriage of Saint Catherine or Mystic Marriage of Saint Catherine with Three Saints in a Landscape is a c. 1512 oil on panel painting by Correggio, now in the Detroit Institute of Arts. It is usually dated to the artist's youth, before Madonna and Child with St Francis (Dresden) and after Mystic Marriage of Saint Catherine (Washington).
Mystic Marriage of Saint Catherine or Mystic Betrothal of Saint Catherine is a 1567-1570 oil on panel painting by Giovanni Battista Moroni, produced for the side-altar of Catherine of Alexandria in the church of San Bartolomeo, parish church of Almenno San Bartolomeo, where it still hangs. It is signed at lower right IO:BAP.MORONUS.P. The church had been begun in 1520 through the will of Giorgio Rota, but work lapsed until restarting in 1562. The painting draws on the composition of Moretti's 1539 Rovelli Altarpiece.
The Conegliano Altarpiece or Madonna and Child with Angels and Saints is an oil painting produced in 1492 by Cima da Conegliano as the high altarpiece for the Duomo di Conegliano in his birthplace.
Madonna and Child with Saints is a 1588 oil on canvas painting by Annibale Carracci, now in the Gemäldegalerie Alte Meister in Dresden. Signed and dated by the artist, it is also known as Madonna and Child with Saints Francis, Matthew and John the Baptist, Madonna and Child Enthroned with Saint Matthew and the St Matthew Madonna.
Madonna and Child Enthroned with Saints is a 1496-1498 oil painting by Cima da Conegliano, originally painted on panel but later transferred to canvas. It is also known as the Dragan Altarpiece after Giorgio Dragan, a shipowner who commissioned it for his personal altar in the church of Santa Maria della Carità in Venice. To the left of the throne is a female saint, George and Nicholas, whilst to the right are Anthony Abbot, Sebastian and another female saint.
