demonstrates a clear intent to show off his mastery of the most up-to-date central Italian manner
Dorinda, dressed in a classicizing manner with a red satin skirt, white blouse, and
woman in the Washington painting is projected in a remarkably forceful and direct manner
This is no “family” in the usual sense. A harlequin, a jester, a young man in a leotard, a boy in a blue costume, a girl in a tutu with a basket, and a woman in a flowered hat are arranged in this rose-hued landscape.
There’s no coherent, unified manner in the painting, which is one of the things that
Probably born in Siena, perhaps in 1284 according to uncertain information transmitted by Giorgio Vasari ,[1] Simone must already have been a famous artist when he was commissioned to paint the Maestà fresco in the Sienese seat of government, the Palazzo Pubblico. Signed and dated 1315, it is the earliest surviving of his ascertained works.
and highly innovative artist who had broken away from the prevailing Duccesque manner
Giovanni della Casa, who is in all likelihood the subject of this portrait, belonged to a wealthy Tuscan family and rose to prominence in the service of the church. As poet, humanist, and political theorist, he circulated at the highest levels of Italian intellectual life.
Della Casa also wrote a book on manners, and in this portrait of the early 1540s
I have drawings done in that manner.” [2] John R.
Saint Judas Thaddeus once decorated the predella of an altarpiece along with nine other small portraits of apostles, three of which are in the collection of the National Gallery of Art: Matthew , Simon , and James Major .
softness of the modeling displays most clearly Simone Martini’s refined pictorial manner
Throughout his career Tiepolo painted small pictures of mythological themes, which proved extremely popular. The subjects of these works came from the best–known episodes from ancient literature, but his conception of the stories was varied and original.
used by Tiepolo elsewhere but never in such a dramatic and emotionally intense manner
Rembrandt Harmensz van Rijn, born in Leiden on July 15, 1606, was the son of a miller, Harmen Gerritsz van Rijn, and his wife, Neeltgen van Zuytbrouck. The youngest son of at least ten children, Rembrandt was not expected to carry on his father’s business.
1650s and early 1660s, stylistic trends had veered away from his deeply personal manner
