Andrea Solari (also Solario) (1460 in Milano - 1524) was an Italian Renaissance painter. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.  Related Paintings of Andrea Solario :. | Portrait of a Young Man after | Madonna of the Green Cushion | The Crucifixion | Man with a Pink Carnation | Man with a Pink Carnation |
Related Artists:
Ayne Bru
Ayne (Aine) Bru (probably a Catalanization of Hans Bren) was a 16th century Renaissance painter of German origin who worked in Catalonia. He may have proceeded from Lummen, in the Duchy of Brabant. He is sometimes also called Lucius de Brun. His surname may also suggest provenance from the town of Brenn. In 1502, he was hired to paint the main altar (retablo) in the church of the monastery of Sant Cugat del Valles, for which he was paid a staggering wage between 1504 and 1507. On the central panel, Bru depicted the martyrdom of Saint Cucuphas (in Catalan, Sant Cugat) with enormous realism. The executioner cuts the saint's throat while Cucuphas remains tied to a tree trunk. Nearby, there appear another knife (in a basket) and a dog sleeping peacefully. This work is now at the National Art Museum of Catalonia (Museu Nacional d'Art de Catalunya). The dog from Bru's painting of Cucuphas' martyrdom was later borrowed by Salvador Dale for a painting called "Dale Contemplating Nude" or "Dale Dale Dale". The vast countryside that serves as a background anachronistically includes the actual monastery of Sant Cugat. Another panel, depicting Saint George (sometimes identified as Saint Candidus or simply as "Warrior Saint"), was attached to this one. It has been rejoined and is visible at the National Art Museum of Catalonia. Marcel Durliat believes that though the expressionism in this painting is evidence of a Germanic artistic tradition, Bru's Quattrocento depiction of the standing figures in contemporary dress, as well as other details, indicate that the painter may have lived or studied in Northern Italy before moving to Barcelona.
Loo, Louis-Michel van
Flemish active in France, 1707-1771 Painter, son of Jean-Baptiste van Loo. He trained with his father in Turin and Rome, later attending the courses of the Acad?mie Royale in Paris. He received the institution's first prize for painting in 1726, and in 1728, accompanied by his brother, Fran?ois, and his uncle, Carle, returned to Rome where he was associated with Francois Boucher. On his way back to France, he stayed for a time in Turin, painting portraits of the royal family of Sardinia, the Duke and Duchess of Savoy. In Paris he was admitted to membership of the Acad?mie Royale and in 1735 was appointed assistant teacher at the Academie, becoming renowned as a specialist in portrait painting. Most of his portraits from this period are half-length, combining ideas from Hyacinthe Rigaud's later work with other more natural and innovative ones. On the death of Jean Ranc, Philip V of Spain asked Rigaud to suggest a substitute, and van Loo was proposed. He arrived in Madrid in 1737 and remained there as Pintor de la Corte until 1752, responding with modern aesthetic ideas to the demands of the Spanish monarchs for pomp and splendour. He carried out court commissions but devoted part of his time to teaching, his pupils often becoming studio assistants. He also took an active part in meetings held over a number of years to establish the Real Academia de Bellas Artes de S Fernando, for which he produced the canvas, the Education of Cupid by Venus and Mercury
CARIANI
Italian Painter, ca.1490-1547 was an Italian painter of the high-Renaissance, active in Venice and the Venetian mainland, including Bergamo, thought to be his native city. His father, also Giovanni Busi, was born in Fuipiano Valle Imagna and was appointed a local magistrate for the Venetian authorities. His son, probably born in Bergamo, is known to have lived in Venice starting in 1509, and may have trained with either Giovanni Bellini or Giorgione, and almost certainly was influenced by them. Though he worked often in Bergamo, he died in Venice in 1547. He was strongly influenced by Palma il Vecchio, but had a provincial love of scenery as seen in his Sacra conversazione with a youthful donor. While working in Bergamo (1517-1523),