The 100 Most Influential Painters & Sculptors of the Renaissance (The Britannica Guide to the World's Most Influential People)
Britannica Educational Publishing
Format: PDF / Kindle (mobi) / ePub
It has been said that when it comes to success, it isn't what you know, but who you know.
The 100 Most Influential Painters & Sculptors of All Time is one title in this 8 book series, in which readers get the best of both worlds. Concise but information-packed biographies detail the lives and life's work of hundreds of leading individuals from an assortment of disciplines.
Readers will get to know the foremost minds within science, art, writing, music, invention, politics and philosophy. Each valuable compendium offers a comprehensive index, complementary visuals, and behind-the-scenes details that reveal the very human nature behind world-changing personalities.
reviving the glories of Classical antiquity is the Calumny of Apelles (c. 1495), a subject recommended by Alberti, who took it from a description of a work by the ancient Greek Calumny of Apelles, tempera on panel by Sandro Botticelli, 1490s; in the Uffizi Gallery, Florence. © Photos.com/Jupiterimages 140 7 Sandro Botticelli 7 painter Apelles. Botticelli also drew inspiration from Classical art more directly. While in Rome in 1481–82, for example, he reproduced that city’s Arch of
1493 or 1494 Dürer was in Strasbourg for a short time, returning again 179 7 The 100 Most Influential Painters 7 & Sculptors of the Renaissance Self-Portrait in Furred Coat, oil on wood panel by Albrecht Dürer, 1500; in the Alte Pinakothek, Munich. Alte Pinakothek, Munich; photograph, Blauel/Gnamm—Artothek 180 7 Albrecht Dürer 7 to Basel to design several book illustrations. An early masterpiece from this period is a self-portrait with a thistle painted on parchment in 1493. First
period reflect the sweet, soft portrait types especially favoured by Bellini. One of Dürer’s most impressive small paintings of this period, a compressed half-length composition of the Young Jesus with the Doctors of 1506, harks back to Bellini’s free adaptation of Mantegna’s Presentation in the Temple. Dürer’s work is a virtuoso performance that shows mastery and close attention to detail. In the painting the inscription on the scrap of paper out of the book held by the old man in the foreground
to the taste of 193 7 The 100 Most Influential Painters 7 & Sculptors of the Renaissance the German courts and have an enduring charm. But in conception and style they look back to the International Gothic style of a century before. Thus from a historical viewpoint Cranach’s work was a backwater in European art of the 16th century. Though he was the dominant figure in the painting of northeastern Germany during his lifetime, his influence was confined to his immediate circle. Cranach is
but few examples are known to survive. Obviously talented, he was taken under the wing of the ruler of the city, Lorenzo de’ Medici, known as the Magnificent. This good fortune gave him access not only to leading poets and intellectuals but to the Medici art collection. The bronze sculptor Bertoldo di Giovanni, a Medici friend who was in charge of the collection, was the nearest he had to a teacher of sculpture, but Michelangelo did not follow his medium or in any major way his approach. Still,