Serafino de' Serafini (1323-1393), also spelled Seraphino de' Seraphini was an Italian painter, active in Modena in the late 14th century.
Serafino de' Serafini (1323-1393), also spelled Seraphino de' Seraphini was an Italian painter, active in Modena in the late 14th century.
He is known by a Coronation of the Virgin and other subjects in Modena Cathedral. The Coronation bears the inscription "Seraphinus de Seraphinis pinxit 1385 die Jovis x.x.i.i.i. Marcii. Little is known of this artist, we may conclude that he was probably of some importance in his time, from the following inscription in a chapel, not named, painted by him: [1]
Mille trecento con septanta sei
Erano corso gli anni del Signore
E'l quarto entrava quando a so honore
Questa Capella al nobel fin minei.
Et io, che tutta in si la storiei
Fui Serafin da Mutina Pittore.
The 19th-century art historians Crowe and Cavalcaselle generally dismiss the power of Seraphini, stating that in his work, the Bolognese style alternates with some Giottesque feeling. His execution is rude, his color dull and flat and coldly shadowed. [2]
Sir Joseph Archer Crowe was an English journalist, consular official and art historian, whose volumes of the History of Painting in Italy, co-written with the Italian critic Giovanni Battista Cavalcaselle (1819–1897), stand at the beginning of disciplined modern art history writing in English, being based on chronologies of individual artists' development and the connoisseurship of identifying artist's individual manners or "hands".
Giovanni Nanni, also Giovanni de' Ricamatori, better known as Giovanni da Udine (1487–1564), was an Italian painter and architect born in Udine. A painter also named Giovanni da Udine was exiled from his native city in 1472.
Giovanni Battista Cavalcaselle was an Italian writer and art critic, best known as part of "Crowe and Cavalcaselle", for the many works in English on art history he co-authored with Joseph Archer Crowe. Their multi-volume A New History of Painting in Italy continued to be revised and republished until 1909, after both were dead. Though now outdated, these are still often cited by modern art historians.
Francesco Brizio (1574–1623) was an Italian painter and engraver of the Bolognese School, active in the early-Baroque.
Barnaba da Modena was a mid-14th-century Italian painter who painted in a style that was still much indebted to the Byzantine model. He is considered the first Lombard painter of note and was active in Lombardy, Piedmont, and Pisa in Tuscany.
Tomaso Barisini, better known as Tommaso da Modena and sometimes called Tomaso Baffini was an Italian painter of the mid-14th century.
Francesco Capurro, also known as Capuro, was a 17th-century Italian painter of the Baroque period, mainly active in Genoa and Modena. He was born in Camogli, just north of Genoa. He was one of the main pupils of the genoese Domenico Fiasella. During a trip to Rome, he was apparently influenced by the Caravaggisti painter from Naples, Jusepe Ribera. He was employed some time at the Court of Modena, and died young at Genoa, of a malignant fever.
Michele di Matteo, also sometimes used with further qualifications of da Bologna or Lambertini was an Italian painter of the late Gothic period in Bologna.
Matteo Balducci was an Italian painter of the Renaissance. He was born in Fontignano, a small town near Lake Trasimeno in Perugia.
Domenico Bettini (1644–1705) was an Italian painter of the Baroque period, mainly depicting still-life subjects.
Francesco Bianchi was an Italian painter of the Renaissance period. He is also known as Francesco del Bianchi Ferrara and Il Frare. He was born at Ferrara. Modena is also mentioned as the place of his birth. His works were much esteemed in his time. He was a pupil of Cosimo Tura. He is said to have been an instructor of Correggio, but Bianchi would have died when the former was only 16 years old.
Andrea Busati di Stefano was an Italian painter of Albanian origin during the Renaissance period. Andrea was the son of Stefano Busati who had fled to Venice from Albania. He was a follower of the Giovanni Bellini, is the author of a signed St. Mark enthroned between SS. Francis and Andrew, painted about 1510, and now in the Gallerie dell'Accademia in Venice. A figure of a Saint in the Vicenza Gallery is also ascribed to him.
Lorenzo Allegri was an Italian painter, working in the city of Correggio in the Duchy of Modena.
Jacopo Avanzo of Verona, has long been confused with Jacopo degli Avanzi of Bologna; but the remains of an inscription in the Cappella San Giorgio point to Verona as the birthplace of Avanzo. He painted decorations, in conjunction with Altichiero da Zevio, in the Cappella San Felice and the Cappella San Giorgio in the church of Sant' Antonio at Padua, in 1377. It appears that the principal frescoes in the Cappella San Felice were the work of Altichiero; and of those in the Cappella San Giorgio, which were recovered from oblivion in 1837 by Dr. E. Förster, the part to be assigned to Altichiero has given rise to much dispute; but it is thought by some authorities that Avanzo executed the principal portion. The frescoes represent the earlier part of the 'History of our Lord,' the 'Coronation of the Virgin,' the 'Crucifixion,' and 'Legends of St. George, St. Catharine, and St. Lucy.' They prove the painter to have been an artist of no common genius, and Kugler, in his description of them, speaks of his art as being above that of his contemporaries. Avanzo also painted two triumphal processions in a public hall of Verona, which have long since perished. He died about the end of the 14th century.
Baldassarre Carrari the Elder was an Italian painter who worked at Forlì about the year 1354.
Ercole dell'Abate or dell'Abbate (1573–1613) was an Italian mannerist painter in his native Modena. In English, his name is sometimes given as Ercole Abbate, Abate or Abati.
Giovanni Battista da Faenza, called Bertucci, who painted in the style of Perugino and Pinturicchio, flourished in the early part of the 16th century at Faenza. In the Pinacoteca of that city there are various works ascribed to him, of which the most remarkable is a Majesty, signed by him and bearing the date 1506. Crowe and Cavalcaselle also claim for Bertucci an Adoration of the Magi in the Berlin Gallery, there ascribed to Pinturicchio, and a Glorification of the Virgin in the National Gallery, given in the catalogue to Lo Spagna, who was a pupil of Perugino.
Jean-Baptiste Forest was a French landscape painter.
Jacobello di Bonomo was an Italian painter, active in an early Renaissance style.
Domenico Mancini is an Italian painter of the Venetian mainland, painting in a High Renaissance style. Mancini was either a pupil or a close follower of Giorgione and Giovanni Bellini. He was born in Treviso, and is said to have worked alongside Pietro Maria Pennacchi.
This article incorporates text from a publication now in the public domain : Bryan, Michael (1886). "Dei Serafini, Serafino". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.| General | |
|---|---|
| National libraries | |
| Art research institutes | |
 | This article about an Italian painter born in the 14th century is a stub. You can help Wikipedia by expanding it. |
