Tommaso de Vigilia (active 1480-1497) was an Italian painter of the Renaissance period.
He was mainly active in Palermo. His earliest existing work is a triptych once belonging to the Duke of Verdura at Palermo, representing a Virgin and Child with four Saints, dated 1486; and his latest a St. Nicholas enthroned in a glory of Angels (1489) for the church of San Niccolo, Palermo. The ceiling of the church of the Santissima Annunziata, in the same city, is decorated with a series of sixteen scenes from the life of the Virgin, on canvas, by Tommaso. Other churches in Palermo possess paintings by him.
Giacinto Calandrucci was an Italian painter of the Baroque period.
Pietro Novelli was an Italian painter of the Baroque period, active mainly in Palermo. Also known as il Monrealese or Pietro "Malta" Novelli to distinguish him from his father, Pietro Antonio Novelli I. He was also nicknamed by contemporaries as the Raphael of Sicily.
Ercole Lelli was an Italian painter of the late-Baroque, active mainly in Northern Italy, including his native city of Bologna, as well as Padua and Piacenza.
Tommaso de Aleni, was an Italian painter of the Renaissance period, active in his native Cremona. He was a pupil of Galeazzo Campi. He was also influenced by the works of Perugino. He painted for the church of San Domenico at Cremona, where he was employed with Campi. A Nativity (1515) formerly in the church of San Domenico, was moved to the town-hall of Cremona.
Ludovico Trasi was an Italian painter of the Baroque period, born and active in Ascoli Piceno.
Tommaso Campanella was an Italian painter active during the Baroque, mainly in his native Bologna. He was originally a pupil of the Carracci, but afterwards followed the style of Guido Reni. In the church of San Michele in Bosco at Bologna, he painted Scenes from the life of St. Cecilia.
Antonio Veneziano, was an Italian painter who was active mainly in Siena, Florence and Pisa, documented between 1369 and 1419.
Giovanni Battista Caporali was an Italian painter of the Renaissance.
Pietro del Pò, also spelled del Po, was an Italian painter, engraver and draughtsman of the Baroque. He was more distinguished as an engraver than as a painter.
Vincenzo degli Azani was an Italian painter. He was born in Palermo, Sicily, where he spent most of his life, except for a spell in Rome, where he came under the influence of Raphael. He is also known as Vincenzo da Pavia, Vincenzo Aniemolo, Vincenzo degli Azani da Pavia, Il Romano and Vincenzo Romano.
Pablo da San Leocadio or Paolo da Reggio was an Italian painter from Reggio Emilia, who was mostly active in Spain.
Bartolomeo di Tommaso, also known as Bartolomeo da Foligno was an Italian painter of the Umbro-Sienese school.
Giovanni di Bartolomeo Cristiani was an Italian painter active in Pistoia and Pisa in the second half of the 14th century.
Tommaso Nardini was an Italian priest and painter of the Baroque period, active in his native town.
Giuseppe Velasquez, Velasques or Velasco was an Italian painter, active in a Neoclassic style.
Stefano Orlandi was an Italian painter, active mainly in Bologna in the architectural perspective painting. He is known for painting fanciful architectural canvases, known as Capricci.
Michele Blasco (1607–1661) was an Italian painter and architect, active in his native Sicily, mainly painting in sacred subjects in a Baroque style.
Tommaso Pollace was an Italian painter.
Andrea Carrera or Carreca was an Italian Baroque painter mainly active in Sicily. He was born in Trapani and died in Palermo.
The Sicilian Renaissance forms part of the wider currents of scholarly and artistic development known as the Renaissance in Italy and Europe as a whole. Spreading from that movement's main centres in Florence, Rome and Naples, when Renaissance Classicism reached the island of Sicily it fused with influences from local late medieval and International Gothic art and Flemish painting to form a distinctive hybrid. The 1460s is usually identified as the start of the development of this distinctive hybrid Renaissance on the island, marked by the presence of Antonello da Messina, Francesco Laurana and Domenico Gagini, all three of whom influenced each other, sometimes basing their studios in the same city at the same time.
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