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All Guido Reni Oil Paintings
    
     Artist Introduction: 1575-1642 Italian Guido Reni Galleries Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de?? Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601-1604, his main patron was cardinal Sfondrato. By 1604-1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607-1614, he was one of the painters patronized by Borghese. Abduction of Deianira, 1620-1621.Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale. The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman Sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[5] in the Farnese. Reni in this painting is allies himself more with the sterner Cavaliere d'Arpino,Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616. He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.
     
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Painting ID::  3416 		  Metropolitan Museum of Art, New York
 

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All Francesco Salviati Oil Paintings
    
     Artist Introduction: Italian 1510-1563 Francesco Salviati Gallery
     
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Painting ID::  3699 		  1543/45 Galleria degli Uffizi, Florence
 

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All Francesco Salviati Oil Paintings
    
     Artist Introduction: Italian 1510-1563 Francesco Salviati Gallery
     
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Painting ID::  29865 		  mk67 Oil on panel 617/16x48 1/16in Uffizi,Gallery
 

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     Artist Introduction: Italian Painter (1544-1597)
     
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Painting ID::  29873 		  mk67 Oil on panel 49 5/8x40 9/16in
 

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All SALVIATI, Cecchino del Oil Paintings
    
     Artist Introduction: Italian painter, Florentine school (b. 1510, Firenze, d. 1563, Roma).
     
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Painting ID::  40373 		  mk156 c.1556 Oil on panel 156x122cm
 

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All Andrea del Sarto Oil Paintings
    
     Artist Introduction: b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.
     
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Painting ID::  56708 		  mk247 1518 to 19,oil on wood transposed onto canvas,72x54 in,185x137 cm,louvre,paris,france
 

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All Francesco Salviati Oil Paintings
    
     Artist Introduction: Italian 1510-1563 Francesco Salviati Gallery
     
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Painting ID::  83109 		  Oil on wood Galleria degli Uffizi, Florence Date between 1554(1554) and 1558 cjr
 

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All Francesco Salviati Oil Paintings
    
     Artist Introduction: Italian 1510-1563 Francesco Salviati Gallery
     
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Painting ID::  84593 		  Date between 1554(1554) and 1558(1558) Medium Oil on wood Dimensions Height: 156 cm (61.4 in). Width: 122 cm (48 in). cjr
 

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All Jean Cousin THe Elder Oil Paintings
    
     Artist Introduction: Sens ca .1490-Paris ca 1560
     
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Painting ID::  84655 		  Date first half of 16th century Medium Oil on wood cjr
 

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All Joachim Wtewael Oil Paintings
    
     Artist Introduction: 1566-1638 Flemish Joachim Wtewael Galleries Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest (from the imagination) and naer t leven (after life). Wtewaels activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate; he also painted several portraits, including a Self-portrait (1601; Utrecht, Cent. Mus.).
     
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Painting ID::  85035 		  Date 1627(1627) Medium Oil on oak panel Dimensions Height: 83 cm (32.7 in). Width: 73 cm (28.7 in). cjr
 

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All Francesco Salviati Oil Paintings
    
     Artist Introduction: Italian 1510-1563 Francesco Salviati Gallery
     
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Painting ID::  87256 		  Oil on wood Galleria degli Uffizi, Florence Date between 1554(1554) and 1558 cyf
 

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All Francesco Salviati Oil Paintings
    
     Artist Introduction: Italian 1510-1563 Francesco Salviati Gallery
     
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Painting ID::  88451 		  between 1554(1554) and 1558(1558) Medium Oil on wood cyf
 

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All Jean Cousin THe Elder Oil Paintings
    
     Artist Introduction: Sens ca .1490-Paris ca 1560
     
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Painting ID::  88466 		  first half of 16th century Medium Oil on wood cyf
 

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All Joachim Wtewael Oil Paintings
    
     Artist Introduction: 1566-1638 Flemish Joachim Wtewael Galleries Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest (from the imagination) and naer t leven (after life). Wtewaels activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate; he also painted several portraits, including a Self-portrait (1601; Utrecht, Cent. Mus.).
     
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Painting ID::  88800 		  1627(1627) Medium Oil on oak panel cyf
 

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All Andrea del Sarto Oil Paintings
    
     Artist Introduction: b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.
     
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Painting ID::  93666 		  1518(1518) Medium Oil on canvas (transferred) Dimensions Height: 185 cm (72.8 in). Width: 137 cm (53.9 in). cjr
 

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