Antonio Allegri da Correggio, usually known as just Correggio, was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the 17th century and the Rococo art of the 18th century. He is considered a master of chiaroscuro.
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.
Pintoricchio or Pinturicchio whose birth name was Bernardino di Betto, also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. Born in Perugia in 1454 and dying in Siena in 1513, Pintoricchio acquired his nickname because of his small stature. He also used it to sign some of his 15th and 16th century artworks.
Domenico Zampieri, known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters.
Andrea Solari (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.
Girolamo Savoldo, also called Girolamo da Brescia was an Italian High Renaissance painter active mostly in Venice, although he also worked in other cities in northern Italy. He is noted for his subtle use of color and chiaroscuro, and the sober realism of his works, which are mostly religious subjects, with a few portraits, which are given interest by their accessories or settings, "some even look like extracts from larger narratives".
The Allentown Art Museum of the Lehigh Valley is an art museum located in the city of Allentown, Pennsylvania, in the United States. It was founded in 1934 by a group organized by noted Pennsylvania impressionist painter, Walter Emerson Baum. With its collection of over 19,000 works of art, the Allentown Art Museum is a major regional art institution. In addition, its library and archives of more than 16,000 titles and 40 current periodicals make it an important regional cultural resource.
Joos van Cleve was a leading painter active in Antwerp from his arrival there around 1511 to his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting, he combines the traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles.
Portrait of a Young Man is a name given to many painted portraits in which the identity of the young male sitter has been lost to history. These include:
Saint Jerome in the Wilderness is an unfinished painting by Italian Renaissance artist Leonardo da Vinci, now in the Vatican Museums. The composition of the painting has been drafted in monochrome onto the primed wooden panel. At an unknown date after Leonardo's death, the panel was cut into five pieces before eventually being restored into its original form.
Madonna with Child between Saints Flavian and Onuphrius is an oil painting by Lorenzo Lotto, signed and dated 1508, now in the Borghese Gallery, Rome, Italy.
Saint Jerome in Penitence is a c.1575 painting of Saint Jerome by Titian, now in the Nuevos Museos in the El Escorial.
Saint Jerome in the Wilderness or Saint Jerome in the Desert is a common subject in art depicting Saint Jerome. In practice the same subject is often given titles such as Saint Jerome in Penitence and Saint Jerome Praying – see Category:Paintings of Saint Jerome. Well-known versions usually given a "wilderness" or "desert" title include:
Santa Cristina al Tiverone Altarpiece is a painting by the Italian Renaissance painter Lorenzo Lotto, executed around 1504–1506. It is still housed in its original location, the parish church of Santa Cristina in Quinto di Treviso, a frazione of Treviso, northern Italy.
The Vision of Saint Eustace is a painting by Annibale Carracci, showing saint Eustace and his vision of a crucifix between the horns of a stag whilst out hunting. The saint is set in one of the first landscapes by either of the Carracci brothers, showing how he was influenced by Venetian landscape painting until about 1598 after a stay in the city in 1587 and 1588. Specific influences include Titian's Penitent Saint Jerome (Louvre) and the naturalism of Jacopo Bassano. Critics argue the composition is based on two prints by Cornelis Cort, a Flemish printer - Penitent St Jerome and The Vision of Saint Eustace. These prints were in turn based on ideas by the Lombard painter Girolamo Muziano, who was also influenced by Venetian models. The dogs and some other details are drawn from Saint Eustace, an engraving by Albrecht Dürer of the same subject.
Saint Jerome in Penitence or Penitent Saint Jerome is a c.1531 oil on canvas painting Titian, now in the Louvre in Paris.
The Madonna of the Baldacchino is a c.1506-1508 oil on canvas holy conversation-style painting by Raphael, now in the Galleria Palatina in Florence.
Saint Jerome in Penitence is a 1515 oil on canvas painting by Italian Renaissance artist Lorenzo Lotto, now in the Allentown Art Museum in Pennsylvania, USA. It is signed on the rock next to the saint.
Saint Jerome in Penitence is an oil on panel painting by Italian Renaissance artist Lorenzo Lotto. Its signature ("Lotus") is fully legible, but the final number of the date is illegible, though it is usually dated to around 1506. It is now in the Louvre.
Saint Jerome in Penitence is an oil on panel painting by Lorenzo Lotto, now in the Brukenthal Museum in Sibiu, Romania. It is signed at the bottom left "LAUREN/LOTUS". It is dated to c. 1513-1514, early in his time in Bergamo, when he was still clearly influenced by Raphael and other painters active in Rome. It entered the collection of baron Samuel von Brukenthal and remained with his heirs before being confiscated in 1948 and placed in the National Museum of Art of Romania in Bucharest, where it remained until moving to its present location in 2006.
