A
visual
journey
from
Fra
Angelico
to
Andy
Warhol
Ow-lotte
Gerlings
100
Great
•
tlStS
•
r IS S
visua
l journey
from
Fra
Angelico
to
Andy
Warhol
har
Jo
tt
e Ged
in

· .
ARCTURUS
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p<~<.,.
I'aul Rubens, Angelico Kauffi"ann,
Jean-Aug"''': Ingn:s,
Iknhc
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lori,ot
11",::e
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CONTENTS
Introduction 6
Giotto
<Ii
Hondonc
"
Peelers. CJ3rJ
"S
Gin.in. Tholl""
7S
Picasso, Pablo
';0
Angelico, Frn S
Goya
, Frnncisco

Picro

Ddla
Frnllcesca
'"
Anguissola, Soronisb. W
EI
Greco
S'
Pollocl
J.d.on
'"
Arcimboldo, G i"''''I'I'''
"
Griinc"
'
a1d,
,
\lathias
"'
Popova, Liulx",
156
Bellini,
CiovalUli
"
Hal
••
Frnns
SO
Poussin , Nicolo.
""
Blake,

\\
r,lIiam
"
Hiroshigc,
","do
R8
Pu.
·is
de
Ch~\'anncs,
Pierre-
Bonhcur
, Rosa
'"
Hockney. David
90
cecile
'6<J
Bosch,
Hieron
ymus 10 Hodler, Ferditl3lld
91
RaJ'had Sam;
162
BOIticdli,
S,ndro
11
HOg"lrth.
\\
"lIi

,m
'"
Rcmbrnndr
nil
Rijn
'"
Boucher,
F"",<;<>i
s
"
Holrusai,
K>l<ushika
% Renoir, Pierre Augus.e
'"
Brue
gd
, Piclcr 10
/-Ioll>ein.
HailS ,he
Younge
98
Rou,,,,.u, Henri
""
Can.lctro,
Antonio
'S
Homer,
\\
""s lo",
'00

Ruben.,
Peler
Paul
'70
C.r<waggio,
,\
Iichel.ngdo
)0
De Hooch.
Piclcr
'01
S"",so
, Alexei m
CezalUlc. Paul
)l
/-Iol'per. Edward
""
Schiele,
Egon
'"
Chardin,
jem
-
B~I,r.is!e
H
In
gres,
je.n
-
Augu.<le

""
Seu,.,.!,
Georges
no
Cimabue,
Giov~nni
J6
Kandin.<L:y,
Wassily
".
Stubbs, Ceorl\"
""
Claude
LOlT'Jin
)S
Kluffinann,
Angelic~
"0
Tinroreuo,
j.COllO
'SO
Cole,
Thomo< <0 Kiim!,
Gustav
'"
Titian
'"'
Con<!able,
john
41

Leonardo
Ih
Vinci
'"
Turner,Josel,h
,
\hllord
Com!,
Jeon -ihl,tisre
44
Lorenzeui
, Ambrogio
'"
\\r,lIi.m ,"4
COlnl3n,
john
Sdl
46
,\
bc~e,
Augus!e
"S
Uccdlo,
P~olo
186
Courbe!
, c.usr,,,
'e
4"
,\

bgriue.
Rene 120
Van
Der
Wcyden,
Ro
gier
'"S
Crnnach, Lucas the
Elder
50
,\Jalcl'ich,
Klsimir
'"
\'iln Dycl:. Anrhony
,9<)
Doli, Salvador
51
,\Jane!, Edouard
'"
\'iln
Eyd:,
jan
192
D,vid
, jacques-Louis
54
,
\bn!e
gn;}

, Andrea
'M
\'iln
Gogh.
Vincenr
'"
Deg>
.<,
E<1g>r
"
,
\brtini,
Simone
""
VeI.zquez, Diego de Silva y
196
DeI:>eroix, Eugene
5"
,\\asaccio,
TOnllll3SO
"0
Vermeer,
johanne
s
""
Ducciodi
Buonin<egn. 00
,\luis,""
Henri
'"

Veronese. Paolo
'00
Durer, Albrechl
"
,
\Iichd.ngdo
Buon.rmti
'34
W~rhol,
Andy
202
Eakin<,
Thomas
"
,\Iillai<.john
E,,=u
'"
\ValleaU, Anroine
'04
Friedrich.
('.:I<llaI'
David
("-
,
\Iodigli.ni,
Amedeo
""
\ Vltistler.
j.mes
Abbou

G~insborough.
Thoma
<
68
,
\Iondrian.
Pie!
""
,\Jc,'\'eill
206
C.~ugin,
Paul
70
,\ Ione!.
Oaude
'"
C.enrileschi, AJ1eml";'
72
,\ Iorisol, BeJ1he
"4
Gcricauh,
Theodore
74
,\IWlch,
Edv~rd
""
,\d:nOldedgemen
IS
70S
INTRODUC

TION
I
t
is
a plea
sant
but
far from simple task
to
pick
one
hundred
\,'Tcat'
artist.~
from hundRxls
of
others.
E
veryone
has a
range
of
favouritcs,
and
a
gL"{)gI'aphiGi
l
spread
is
necessary too.

With
the carlysccdcrs, the European an tradition crossed
thcAdantic
to
[be
New
\Vorld,
and t
ra
velled with trade
rs
to
the
Far
East.
This
hook helps
to
show how
that
t
ra
dition was re-
imerpreted in differ
ent
locations.
inL"Vitahly
, my editors and I had
to
make many reluctant

omissions,
a
nd
the
const
rai
nts
of
copyright
affent.:\
the
choice
of
twentieth-century
a
nd
conccmpo
l'J
I)
' artists. However,
the
sck~[ion
that
fo
ll
ows
is
intcndc<i
to
take rea

ders
on
a
"idc-I'
Jnging j
ournLj'
through
the story
of
wcstern art, with the aid
of
one
hundn :! examples
of
its leading
cxponcnt.~.
F
or
the
most
part, thL]' have
trained,
inspired
or
influenced
one
anothe
r
from
the

thirteenth
century
to
the
present
day.
It
is a fJscinating, L·ver-dL-vc!oping
part
of
our
lives
that
we
sha
ll
never tire
of
looking
at.
Major
exhibitions a
re
a fea
ture
of
g'
dll
eries in every
princ

ipal ci
ty
now3l
Li
ys
. CUl'dtors
put
years
of
planning
and
negot
ia
tion
into
a
ssembling
'hlod:hlL~te
r
'
shows
of
both
old
a
nd
modern
ma
sters,
whose

works
are
bo
rrow
ed
a
nd
tl'dnsportL-d all
ove
r
the
wo
r
M.
Yet
we
must
remember
that
we
can
go
to
the
S3me
g'
d!!
eries at
othe
r times,

simply
to
vicw
their
st
a
nding
exhibitions; a
nd
the
youngest
of
ga
ll
ery
visitors
ar
e
often
b>1ven
a
spec
ial welcome. N a
tiona
l
and
provinci
al
galleries
not

only
house
famous works
hut
also
brive
us
the
opportunity
to
discover
the
paintings
of
less well-known artists.
These
pcople
frl"tluently
\\"Orkl-d
al
ongside
the
b'Tc
at names,
sharing
idcas ani\ techniques,
sometimes
in
the
role

of
teacher
o r pupi
l.
St
a
nd
i
ng
in
front
of
a R
en
ai
ss
a
nce
picture
hy
the
likes
of
Botticc!!i
Of
Mantegna
, for example,
it
is
hard

to
imab>1ne
th
at
the
painters
and
sculptors
we a
dmire
were
o ribrinal!r
classified as
'me
r
e'
C
l'd
ftsmen. ,\ 'I
ost
ca
me
from
humble
back
grounds
a
nd
were a
ccepted

into
a
studio
a
round
the
age
of
nine.
At
first,
they
e
arn
ed
thei
r k
cep
by
cleaning
a
nd
running
errands,
gr
adua
ll
r
working
up

from
a
pprentice
to
journLym'ln
and
fina
ll
y mastcr.
The
fresco painter
Qnnini
has !eft this da
unting
account
of
the
R
en
aissance
app
rentice's
tl'Ji
ning
schl-dulc:
'St
a
rt
fin"!:
of

all by gr
inding
colours,
t"Ntall from
The
,\ Iys
tic
Nat
i,;
ty (/500)
by
Sandro Bom'"Uj
hoiling
up
giue, mixing plaster,
then
going
on
to
prepare
pands,
re-
touching
them,
polishing
them,
applying gold leaf,
learning
how to
grain.

Then
a
nothe
r six years to

tudy
the
w;e
of
colour,
the
application
of
mo
r
dant.~,
to find
out
how to
paint
d!"aperies a
nd
folds
and
how to work in fresco. And all
the
time
you
must
p!"acti

se
drawi
ng

wor
k
-tby
a
nd
feast-tlay.'
If
an artist
brraoiuate.:i
to set
up
his
O\\Tl
studio, the process hegan
all
over
ag-
ai
n with
~warms
of
apprentires
~u!Tounded
hy the tools and
materials
of

the
blL~ine<

, in
pUl"!.uit
of
lucr.ltive commissions.
The
m
a
~1:ers
who became
Court
painters had father
more
security-
as
l
ong
as
thl"}'
plea
sl :i
their patrons -
hut
their
stlm~
was
often
that

of
a
selVant
or r
ab
ce
workman.
Some
fresm
paintel'o",
lOr
c.\::Jmple,
were
p,
li
d
only
hy
the
amount
of
wall
they
covered. OCGIsionally, an astute
ar
tist like CralJach or Ruhens was
elL-v
atcd to
the
rank

of
diplomat.
The
mo
re
we
exa
mine
the
b'Te
at
artises
of
a
ll
periocls,
the
more
we
appreciate
that,
no
matter
how
suhlime
their
work,
thl"}'
were
touchl :i hy

the
l-venes
of
history as
much
as
the
next
person.
Their
lives
were
disrupted
by wars, transformed
hy
sc
ientific discoveries,
{"tit
short
by
the
tlll :iil"v
al
p!3b'lle or
twentieth-centu
ry influenza.
To
treat
our
subjeces as

fu
ll
y as possible, ea
ch
one
oc
c
up
i
es
their
1)",,,,1
tum
fr"'"
,\\ orie de
Medici Di
sc
mb
ldng~t
,\\ orseill
cs
After
,\\ orrioge
To
H
enry
IV
of
Fr
""

by
p,," P"ul RuJm"
(/622
- 2
5)
own
doub
l
e-page
sp
read
containing
two pictures, a
comment
ary a
nd
a
time
line that poines to
the
princip
al
l-venes
of
his
or
her
life.
The
selection

of
some
less familiar pictur
es
will, I
hope,
hro
ad
en
a
pprec
iation a
nd
encourage
a fresh approach. OcC"asionally, I have combinl :i a pair,
where
the
connect
i
on
is
particularly
inte
resting or usefu
l.
\¥here
the
comment
ary
ment

i
ons
an
art
i
st
with his
or
her
own
entry
in
the
hook,
that
name
appears in bold
type
for easy
reference. Fo r
the
same
reason,
the
a
rr.mgement
is
al
phabetiGlI, incidentally making for
some

remarkah
le neighbours.
It
is
hopl"{/
that
this
hook
may he
enjoYl"{/
as
,I
reference by student.s a
nd
pr.lctising artises,
a
nd
a
companion
to
the
gene
ra!
reade
r
who
loves l
oo
king
at

pictures and
is
interestl :i in
fincling
out
how ski
ll
s and
pe
rs
on
al
st}1e
come
through
in servi
ce
of
the
creative process.
Charlotte
C~rlings
100)
1187(')
1407
1409_
14
1414-18
1419
_

1f
14JJ
1416-4f
1447-49
1449
_
fZ
14H
FRAANGELICO
B()rn
Guno
di
P~!TO
in Vl«bio di
MUg<Uo,
TW<lmy
EnutT /J(}miniam
mo""'try
al
Find"
mar
florm"
Papal
pditi,""ik
monk<
'"
F()h!;"",
in Umbria
PlaK'''
dr;""

,b,,"
'"
Comma
R
"""",
long_
turn
10
Find"
krom~
Fra
Gi"
'anni
Co,"miIJioRM
'"
paim rb,
Linenwo kers'
T
tir
,,),ch
C"mmiIJiomd
by
C",""O
th'
Mu/sii.
drnml1"
Gm''''''
of
s""
MlIT'o,

FI()rm"
I
nt'iud
10
R
om,
by
Pop'
Eugmiw
Iv.
Pain1T
ponrai'
if
Cbarl~
I'll
if
Frana
B'gi",
fr,,,(n
in
Cap<Ua
di
S""
Bri=
io,
On'i"o
TriR

d"o
R

om,
,;:ilb pupil
Go;::",}i
10
paim
PJ<fJ"
of
SS
S""bm
and
un::r"',,
in
J
"tiam',
Cap<Ua
Ni«di""
R
"ur'"
10
Fi""k,
<i<,,,d
Prior
R
mum
10
Rom,
,
;:b=
br
din

Ikpos
iti
on
ofChri.,
(d"aif) (14J6
-4f)
Tbr fr"''''' in
Ibr
am-ml
if
S""
Marro drnJnl"d botb
,b,
",,"munal '1'''''I mill
,b,
nun,'
p;,-"u
"lb.
,;:b'H rbry
".""
dmg",d
'"
''''"Mag'
m,dilll1ion.
Fr
a
Ang<h"Q"
'7'-;"'"
'"
an

il/","i"""'r
,IMt.":!
in
bi,
Ibin.
pm"
appJication
of
paint
. I, "'aI
""
ithal
,""bod
f()r
d",';ling
"'ingfalbff'!
""d
,,"bro<dny.,
and
".,1/
rniud
'"
baaground
fa",,,,,,
",
II""::,,
in Ibi,
d"ail
F
r~

Angeli"" and his 1",,,hcI
lk""dL~tt,
N
o'
hing
is
known of
Ft~
Angeli""'s early
ioined
'hc
Dominic.n
O"kT
of
,cachl:rs,
othcr
,h.n
'he
influer cc hc
>hows
of
Pre ,h~rs
'o
ge,her
in
1407. A, thcir ,he Siene", ",hool. Angelico
.nd
Ikn.,<lctto
mon~"."y
in

Fie,ole, ,he
}'
"u
ng men wen: pmbahly
m.de
,he
le~p
to full.,;""le fn:s""
di
",
,,,,,l
to
illwnin

ing manuscripts,
.nd
i,
is
I",iming during
'hc
fill: l'cars tha' ,heir order
p(

it~e
,hey
"'
m.in"l
in
artistic 1>1"""rshil'
""!S

exiled
in
,hi: U m1lri.n hill
'own
of FoIig"".
for
n"""
of
,h<;t Ii"",.
Giotto
's f
",
sco",

Assisi would
h,,'e
been
F, Angelico
S<lOn
gain"l.
"'1
.,
';
0",
j;:Jr
his within
<:asy
tc:lch
.nd
'hc

bmthers a
'"
"",

in
to
,echnical ,kills
in
""ml
_
"i,i(
lfl
~nd
colour
.nd
hal<:
"isi",1
,hml.
,,"is
I'nJlllo,,,1 to
",
.::rsl ::ing
a busy W
(,
I >11
(1'
On<: ::
he
h.d
mOl',,1

to
Floren<: ::
.,
'he
inside
'hc
Order. His religious ti,le "

,
F
illli

,;on
of
Cosimo
de'
,
\I
"lici
.nd

,,<,1
G
in
.
'.nni
hu,
'he
other
fri.rs

n.,kn.m"l
him
de"lra,ing
,hc C
om
'::n'
of
S.n
,
\hrco,
Fn
'Angelico'lt:.r his
pil"Y'nd
,hi: be.utiful worl Angelico's h.ndling
of
f
o
m, PLT'l'l-cr;,'e
.nd
,h

he
p",<lu<: ::d.
li
e is "'I
>u
,,,l
nc •
.::
r

to
h".::
",l
our
d""do
p
cd
e"'n
fur,her.
Ik""d",to
is
S3id
.he
n:
d
or
n:n".,h"l.ny
of
his pain'ings,
fi",~y
to
h""
w
o
k,,)
al
of1
g,ide his bru,her
on
'he

"~>'
belie,ing
,ha,
to
do
so would h,nt:
bl ::n
alrin"
S.n
,
\lam,
",mmi,,;on
,
.nd
one
of
'hcir
Go
d's will. 'pl1«",,';<:-'::''''''s
'hc
l"ung
Iknozw
Gozl.(~i.
Th
e
Al
bl
rpiece
of
~

,\1:>""0
(/4J6-4f
)
F",
Angdi'"
bad
an
im"'''a';,~
apprOilch
to comp",i,;"n and I!.
i,
<T,di"d
t::i!b
tl!.
im~rlti"n
if
,I!. S:lCrl
Comer.;;
,ju.,e,
a
dn-r,
,:,bich
plllm all
tb,
Jig"'""
in a
p"intingd_!o
'""
aTlOlb<r,
a,

tlxJugb
in rom-m"lltion, Althougb
!b,
R,,,,,,,,,,,,,,
,",an!
a rmmg
m"",
"'t::amr bUman;"",
Fra
Ang,/ico',
"",*
mairltai",d a firm ,"-,.,-Nl,",
for
!I!. Cbrim'ilt/ id,al
I
H2(!)
1<;46(1)
IH
4
IH9
H70
J:i71
(?)
1621
162!i
SOFONISBA ANGUISSOLA
Born
in
CrmlOfIIl,
L,,""Mrdy,

daugb,"
if
a
I,alb"
and
ri/J:
d,akr
Srutli"
art
IInd.,-
Campi
iIImr
Mitbdang<kJ
in
Rom<
Appoinud
eM"
painu,-
by
Philip
II
</S/",in
,11arr;" Sid/ian
ndN,,"an
Om
Pabrbo
d<
ill_win,
ridtJ,;:<d
I{

mum
'"
C,n"""",
MllfTj"
,bip" "'p",in
Ora:;io
L(Jm<ilirw,
unh
in
Gn/(Jil.
Vitj"d
by
Jim
0,"
OJ,, in Painm"
Phil
ip
II
of
Sp:oin with
th
e
Order
of
the
Golden
F1eece (/565)
AnguiJJda)-
lifo
at

1k
Spani'h
Cour,
Ivgan
in I 559, ,;:b",
,b,
'
;:ar
imrod"",!
IH
an
artist
a!andy
tror'ry
",b.
high'" nganJ. AngtUIRJia
mad<
,"uch
u"
"
,b,
balf
-Imgtb f"Jr1l7lit
throughoUt
b.,.
"',ur
S
0itJniSh. Anguiss()1.
waS
one

of
Se,"n
girls
to
p.inters'
Slu<lios
hec:"",, ""ct:I
I~".
child"'n
_ six girls
and.
boy _ ",hast:
H()w<'I'IT,
thCYWLTc
sdl
rut
allow,,[
to
bcc

llc
enlighte
ned father had his Elmily workshop
"I
,,,
cn,ius
and
worl
alongside the
"due:tled

in
:"
,,,olll with
Rcnai<S3., ,e
hw"anist
mm.
"I
ni.
"cry much ,,,,n-i,,,,,1
w(
.
"m
in
the
principl"'.
"in

,,,,u1,,,<1
in
",,'
of
his <hughters,
'ul
~
""ts
thL'Y
",u1d
I"
int _
no

nude males, for
S()
fo
ni
siJa and Elena,
going
to
study
f()r
cxaml
~ e
_ and
s<'
Anguis.oia found hcr niche
in
three
J
'urs
with the reim()",n,,1 L()mbardy
ponraiture.
She gal'e early notice
of
h.,.
a"i,,,
Ilcrna"linoC

n~,i.
intna",i,,:
app""ch
with an unusual dou

ble
l
nanb
to
the
p"'gr",si,'e
attitudes
of
ponrait
mtitled
Bnnardino Campi Painring
Anguiss(~a
's
f:tther and
Cln~,i,
the admission of
S<fonirlm
AnguiIJllIll.
Anguissoh'.
unique style
w.s
also
historically significant, FirSdr,
she undtTmined
,he
rigid anificiality
of
&4ional~e
l_ml'1irs:
and "",,,,<Hy, she <Jc.n>nstl'1,ed wha,

k"

le
sens.it.i
li'r
could I
,
ing
in
the way
of
e,mti
oll
al
can<k,ur
'"
,he
ttsl.:
of
c:t
pt
uring a lilene,;,;,
Through
her many
self_ponrai,s
, she was
co
",
£01
nJ

"'''phasiz.c her
Own
refined I

I'1C
"'
''
in
,h
e"e stin-ing ,imel, it was
stiD
i11l1
_
,nan,
'0
"'Ill"y
m
,><
lesty and
,i'ttJe
.
Th
e
G~me
of
Ches
s (/555)
7bt-"
if
'k

AnguiJJda
,if"",
Lucia, E"rop"
ilrId
iIIimn.
'a,
play ebm, ,;,bil,
,b,"
~t'"",JJ
looh
on,
Tb,ir
old"
,isur
SofoniJba,
0'"
if
Ik
Jim
1::"",'"
to
gain an i"',rTlati""aJ r'P"'arion
a,
a pain=, bad a maru<U"", ability to
wP"'''
b"
,it,,,,
'"pr",j(J'''
and
'0

"WIT" rb,ir
',"(Jlion,
Anguis'oh's
tt
k:n' made
hc:r
lit
,mIlS all 'N
tT
Eumpe,
bringing
he,
into
"""act
with
Michcl:m
g
clo
a'
,he
stan
of
her
carert
and
\'~
n
Dr"!. ncar
'he
md.

In bcrwt't:n, she was
app
ointed
no'
only
OlU"
I",in'rt
to
Philip
II
of
SI",in bill also
hdy-in_"
iting
to
'wo
,ue"""i,,,
qut't:ns.
I"",
re
stingly, she r",<"in,1 a
",hr)'
OS
bdy_in_waiting; htT
ari''''''l'1tic
status
p<
",'en,,,1 her fmm selling
hc:r
w

()<
ls
and 'hc:y
were always
"",<Ie
a<
gifts
to
th;,se c
OIl
<cme<l.
1f27
1f
49
I
HR
1f62
H6
4
1f66
1f69
1f70-7
1
H76
HRO
IfR7
1f9
1
1f9J
GIUSEPPE ARCIMBOLDO

B()rn
Giw'PP'
Ardmbddoin
Milan, <la
painw
'
m"king
tlJ
fatb.ri
amnant
at
Milll1l
Catb.dral
I"NIigm
lapmry
for
Como
Ca,kd",1
Mo, ,-
10
Prag'u,
/!<rom"
(~, painur
'" F=linmuJ I
R
""aim
COIlTl
paint"
,-"bm
Maxim

i
h'an
il
J'U,,,,dt hrdinll1ld I
Trltt

""o
Ilaly
Pr."nrr ;\Iaximilill1l
il
,;:i,b
S""s<lnS
and
Four Elcm.:nlS
Orgll1li= 11 " rayal
;;:rotiing'
R
.maim
COIlTl
painlff
,;:bm Rudolf
Ii
J'Uccudt
Maximih'an
Ii
Ennohl.d
by
EmfJ'Yor Rudolf
Ii
L",,~,

Prag'" for
Milan
SmdJ
\'crtllmnu< to
Prag'u,
.k,,,,d
'0
Coum Pala,iIU
Di"
of
kitlnry
di"a"
in ;\Iilan
Vcn
umnu
s (tk'ail) (159/)
A magnifi,ml piKtrait
of
Rudolf
il
ii'
tb.
ll1Iam, Roman god
of"'Kwllion
Il1Id
Ik
changing "

"".,
\'enumnus

1::a, abo
,b.
'Y"'bd
of
C(Jmmffu,
711.
""fJ'Yar 1::a,
tkligb"d
,;:itb
'k
itka
afbimulf
at
lb.
,,"bodimml
of
fruitfo/lUE, barmony and a nrong
<C""""'y,
IlfId
pr"mp,ly Itt;:artkd
Artimbddo
tb.
,i,l.
<I
Count PalalilU
G
iu"'I" e Arcimboldo
was
an artist
of

grut
ingcnuity. I
're_,t.,ing
the
Surre.lists
1»-'
Mer
300
ye.",
. hi.
c
'''
'pos.i,io))s
of
p.in",d
Aowers. ,'egetables.
and
o,her
morc
Ilium:
ohjects took
'he
six"'<:nth-c<:ntury l lapsburg Co
un
by
"nnn.
11
",
:e
sutces.i""

empef()f"S
, Ferdinand L
,\ I:tximilian
II
and Rudolf
II
,
b<:C:tmc
,but""
of
h exnaolllinary I_
mrait
",ric
•.
In
1562
, Arcimboldo a,.;, ",,,I an
il1~><"lial
imitation
H.I
lef, ,\lilan for P"'goc.
The
n:
he
assumed
'he
I"'"
of
Court
I",inter

and
d<"
,)<
a
l<) ,
e,"nts
',
pniz.cr,
CostwnC
,k:signer
and all-",un,] •
n
"h'i«:r.
The
UfF'iri
in
Flo
n:
, ,c
has.
re
d
le.,her
f,
~
d""
de'~""ted
I<)
R
udolf

II. Inside are 148
of
Arcimboldo'. p
en
and
"'"iSh
,k<~ches
dettiling
UlStwnes
.nd
'1''''1
''
'
~)f
,"ri
o
us
<~'<:nts
",.,,1
0.,
da<si""I.lk·g<>ry. 1
nc",
e_"
" g-'nzas
we
n:
designed
I<)
,~sl~'Y
the

1I'I"burgs
'
dJ
'nastic
110wer
to hund
n:
ds
of
high_

nking gueSts.
'i
lle
Umri
l
)(
m~)lio
is.
"LTY
",
re
i,em,
as
littlc
of
Arcimb"ldo's s.igned wo

k ,ulVi,'cs,
m

)<
,~d
he
I"",,:
.ny
writings,
.khough
he
known
to hal'e heen highly
"Iucated.
Ilis

bu.
sp'nn,,1 the
ans
, scien"'" <:ngine"'ing
.nd
philosophy, he
,,'"is
•
trut
'R
enais"'n'"
man'.
Y'"
f,
)<
nO
ol

ll;ous
n:
:I5<)))
, his
work
sank
Along wi,h ro)"tl
w"ldings
,
festi,;,ie,.,
into obscuri,y until
re,~scO\ered
in the
Co
urt
<'o."isted
of
l'.gt:.nt< and
I<
J
m'ments.
ninct"'nth
"""tmy.
W2t
er
from ' I
nc
Four Eleml:nlS' (/566)
Ar
a

y<lUng
man, Arcimbddo
painud
nailUd
g/=
for
Milll1l
,atb.drut hilt
j,
"'ar
,bnlugb
tapm'7
d.rign tba,
bi<
richly arrllll"m!lli
nyi.
"""yd.
to
mat"'"' in
tk
painml "rj"o/'S""S<l<IS' and 'ElementS'. ArdmboJdo
1::ar
'"
ropy
\\'
''<"1
many
r",m,f
()r
gifr

to
imp",rtb."
mip
i
mrr
,,·itb
tb.
g/oryofrb. H
apJimrgr
14JO(')
l44
f(')
14
0
14
fS
-u)
14
60-68
1470
14
7!
14
7f_79
14
S'i_!
1490-1f01
H 06
H I6

GIOVANNI BELLINI
B()rTl in J
~nj",
RlRofpainur
Jacopo
B,l/ini
Gj"'."armi
and
brOiM
Gmli/.
"'gin ", k
/lJ
J«opo"
amrtll1llT
iIIa""gTlll
mam"
!b,jr
firm-
and
INc"",,, /afting
j"flu"'''
In P",l1", ,;:irb
;\Ia""g""
R
""'*to
J~nj""
",,,,.IT
'"'
flIT!
,"ai'F ",,,,mi,,i,,,,,

&tahJi,bno1:.'rI
,
;:o hOOp.
Vi,;lT
Rim;,,; and
POllY.,
'"'
" }
of
lim
tkr
IIrydm
Engag",;:itb
f],,"i,b "cbniq'"
t;:bm
ilImi""
i"'rodt.'"
.xl
paiming,,,
J~Jlj"
R
c'urn:",io
fl,
f,m
J
,j""
paiming
",,,,,,.d
in oil
gl"""

Painu panrailJ
and
alk§'ri"ar
,,·,0
at
,,/igiow
rubj«rr
Giorgi""
and
TiN'an
am'"'g
hi,
pt<pih
Viriud
by
Viirrr
j)j"
in
J'ro;"
Do
ge
Leon.: rtlo
Lored:.n
(c.
IW
/)
TIN ruJ.,.
of
l
Mi"

""an
gold
d","a,}
nbs.
""
imp",,<d
fabric
tbat rignifi,d
lb.
proJp<riry
<f
J
mie.
ara
",,",",,,jill
"",
B,Oini n!pruduaJ
tb.1frcr
by
painting
til<
nuf"u
roughly in
onl"
li' alttb
,b,
ligbl
G
im,anni
Ikllini

i.
re'I><Jnsiblc for

ising the ,t3ndanJ
of
the
\
'cntti.n
s<·h
ool of I",inting to thc
I><
,;
nt wherc
the city ri,'alled Floren,,, as • Centre
of
R
Cn:l
issanet:
excellcn,".
Il
is
fAther
, brother
.nd
brothc:r·in_J.w
W,TC
.ni,,,
t
m,
but

it
is
the
latter, Andrc:l
M~nt
c
gn:.o
,
who initi.lly
Si
>UIT
"J
Ikllini
On
to
p.inting
J.nd=p'"
and defining
the
""""J
of
a
pi
crurc.
Likc.1I
his
hali.n
"mtL'''I
_''
''''es

, Ikllini
was accustom"J to working
in
w te,_bas"J
"."1"1'=
, eithc:r
on
w'><Hlen
p.nck
or
pl
,,-,,cr
walls.
Ilo
w",'er,
Onet:
he
had ""en the won:
of
Ro
gier ,·
.n
d
cr
W
C)
J
c n, he was

ger to

trphc
Flmli,h
oi
l glaring tcchniq"" brought to \'eniet:
byAntondJ.,h,\
lcssin.
in
14i5.
Ikl~ni
was
always cxperimenting.
No
,,",
with
thc rich tr1nsluet:nce
of
oil
gJ.u:s
at his
fingcnips _ r""c:lling
nCw
,le
pt
hs
n,
lill"ilia,
colou rs
.nd
dL,nanding •
diffLTCnt

ty
pc
of
brushwo,k _ he
un""'ercd
• wc:llth of
possibiliti",. \Vhcn Hellini learned how
to
tnn'J.",
the
\'cneti.n pl.}'
of
light betwC,,, sky
and w.tCr, he
h.d
the
key
to
all
thc subde
hall"oni",
.nd
I.
illi.nt
",lours
that
would
"'me
to
signifythc <ct.",1 "fVcniet: f

,.
the
nCxt
",,'
<"<-"Ilturi",.
Ikllini inn""n"",J the cou,,",
uf
Eur
",
can
p.inting
through
the
l',ung
p.interS
apl"
""iet:d
to
his
""
.
k.<I"
". T
"",
"f
the
mo"
fAmous
w,TC
G

iorgionc.
nd
Tit",n
, wt.,"" later
""al,y
he
"",k
in
his
""de.
On
a ,'isit
to
\'eniet:
in
1505
, Diirt
"1
"" ""1. 'he
is
n:ry
,
~
d
and
"ill
he iSthe
be"
p.in,er
of

them
all".
,\bdont1.:.l
of
th
e
M
.,.
~dow
(,,15(15)
&Uinil
Mat/()nnat;;.y" !Ortually
bi,
rrad,mllT}, at;;.'",
tb,
m'l'niry and
tmdrrn=
t::i,b
;;.,bicb
b,
porrr"Y'd ,b,m, H,.,.,
'h<
,bild
J=
,I.""
Hirrfillly
IllIlkF
bi,
,"",b,.,.l-K"'" t::bik daily
lift

K"',on
"'bind
,b,m
in
."".
",b,
ar~'rr',
"''lui,i"
landmzpl'!, Only
tb,
brooding rtn.'m
and
,b,
",J.nJn
po""f
'h<
Vnxin
bint a'
rh<
day m o,k'llT)', t::bm
tbi,
JIlm,
ron
;;"iO
Ii,
d,ad
in
h<r
lap
6

1
70
1771
1
77
4-
87
1781
1
789
1790 91
1794
I
S()(}"()]
I SO;
,,"'-'"
ISIS
1
827
WILLIAM
BLAKE
Born
in
/.imdoo,
RlR
of
a 00""-
Apprm,;"d
for
"'~"

Y'iltT
to
"'g'-'''''''- BaJi,.
Of"'" Il1Id
rUnT
a
Lond<Jn
prim
,bop
tuttil
tkatb
if
broIb.,.
Ribr,
Mum"
o"b.rj",
B()iIro", bi,arn'st_
aIJirtllrll,
PtthJiJOO
Jim
booko/panlfJ,
P,,{"tiC:l.I
Skc",ho::.
Pubh',b" Songs
of
lnm>CCncc
Engrat
·"
hy
pr""

" .
." ):,
'I
h"
,\hrriag<:
of
lie",'""
.nd
Hell
Puhlirb" So
ng
s
,,(Experience,
illt/uding
'n,.
Tygn'
Tum
up
by
parron
WiDi"m
Hay!
q.
BJahr
,"ot~
to Pdpbam,
Swur
CbiU"J{'dt::itb
,,,.,,,on
III

Chid",,,,.
and
""I
uirud
Pubh',bd ,\ 1 ikon,
i"dllding
,]mwbn
BlIlh
h:'YJrJ:
gatb""
Y'""'K
di<lipJ",
inc/llding
Sam",/
Pub,,"
OJ,, in
/.<Jnt/(JtI
\rorgin
md
Chi
ld
in Egypt
(/8
/OJ
(h"
"fl
"""lar
paimin", thaI
Blah
mad<

in
grn/ifllll< to a
P"""'"
71xJlnllS
Bu""
v:ba
'''pp",",,;1
bim
by
""ding
bit
w"
for
dt"tn::ing
/",,,,!!. Blal:,
,bought
jt
,"or<
"biea/ '" paint in
"'''f''Y'''
a ,
;:" ,-
_"'=d
"",/i",",
,ban
oil,
ill
it
,",'a,
,"a"

d,,",mding
of
,b,
artin',
,h'l/
W
illia", RI.kc
~
eng
"""'
,
]"inter
,
lIe
c"un'ed
Roy"]
, "dem;""'"
John
I. '

and mystic
";'iona,),
~
wrotC
.
Haman
and
llenr
}'
Fu

sdi
a",ong
his
ck,,,,,,
illust,.,cd
and
printed
his own friends. n e n
,h
o
ugh
he had
<~slik,,1
~""111
hooks.
It
,,-,,;
his
belief
,h.,
tho:
im.gin.,ion

"1<
",h()<~ing
himself. RI.ke claimed
n)
h."c
""'"
,uP""-;'"

to
, and
mOn:
rC11
than
, the
,.,;
"
n.li,m
gho,ts
and
a"gels
>.inc<:
childho
od
~
,,",'CJl
th.,
he
and
11l., ri"li'J11
of his day:
he
fo
und
himself
h.d
s
l'
,

)k<"Tl
to
the
\r,rgin
,\!"
y _
s<)
it
is
dcar
finnl}' outside the ruku, 1 mainstrC1m
in
the
that
Fuseli', fa" ,y
art
was
in
tunC
"ith
and
Age
of
Enlib"'",nmCJl'.
lIe
"'.,,,
.Iso
"sul'l',Jncr
inAucn""d his own. T
he

muscular
nude.
of
of
the F
"'nch
and American R.""IUlio,,-,. ,
\Ii
c
hdmgclo
arC
an
o
.her
dca,
inspi,a,ion,
N",,1
0n
(1795)
In tbiJ larK',
t~ry
1K",,"pJ;'b.d "'lour prim,
It"",
"',,;:ron ir
Jbm:.·n
Inl1i/y
J7ltioflllli~ing
lb,
un;"""'"
,;:itb

lb,
aid
of
a
pair
of
"''"pm"'
'
Blah
tIS,'idd
,b,
/Nxkground
into"'"
brigh' and on, dark
",ti

, impJying tbat tb.
gr,a'
ma,bnnatilian and pir!,i';"
""'ugb,
no,
mlighwunm'
bu, a
~dJm
nigbt_tim"
Blah
b.1i<tJI!d
tbal UTtim ala",
"Yr'
"'palm

</
tIS,-;",
inrigbt
and
tbat
tb,
t<JlJl
"'o1f
abayJ
Jtruggling to
fr"
imlf
frum
,b,
",nfin"
of
"am"
and
organi~d
n4igio"
but
th~
hc
h.d
known
~"
m.ny
yearS
thmugh
Another

of
his
tcchniqu.s
,,-!S
mO
re
akin tn
his u,lIe",i,
.,
"f
engravings.
monoprinting.
l ie took impressions
dire",
Blake's spccial printing
P"'ttSS
invoh'ed
fr
om the I
",
in",d
surfutt
uf
stout
p."e
b
o.n]
t"'n,krring
r"""'<£"<]
im.!:"s

of
his
words and and
",
fined the <k:t:tils
in
ink and
ext'"
p.in~
pi",ur.s
Onn,
u'I
"
'"
I
~
ate
in
.n
.cid.resisting
P"''''rSdy.
if
ll
hkc
h.d
bcm
tich
mough
n,
ink.

Afn::r
etehing in acid.
it
pmduttd,
rdid
.ffi",]
lett"'p
n:
ss
printing and fine
p.inting
illl'ge. which
u,uld
ridd
dOl£ns
mOn:
u
~
,ies.
malL"rial
•. his
worlo
w
<",
ld
su
",
ly
ha,'c lost its
llhke

.nd
his wifc
hand_u
~
our,,1
coch I" int idio;yncratic edge and the tangihle sense
of
indi'idrnlly. using cheap
c.mdh.it
brushes.
i",ol",mcnt
with his mcssage.
'"
1
822
I S4 1
_B
1848
1849
I
SH
I
SH(1)
1860-80
1
889
1
89
4
1

899
ROSA
BONHEUR
B n Mar;,·
R
(J>Illi.
B(Jn}uur
in
Bord"l1lx.
dill/gil",." a
lall/lKap' pain",-
&bibitJ
ugularl
y
,,!
til.
PariT
Salon
A'
::ard<d
Jim
Gold
Mulal
by
1"''''/
,bat indud,d
C
or
Ol,
D<!"m,;x

and I
nKY"
Tu" at'.,. [ath ',
an
.moo/
on
hi,
d,lltb
T
he
1 h""
F.
ir
,;:inr
acdaim
Il1Id
prit
-
Ill'
,.im
by
QU«rI
Vier ;"
BuY'
roa"""
~ar
Fontalruhkau,
,b""t/,;:itb
N",ball.
Mi""

Ji'( } "II>
cbi<jly
in Eng/lmd
i
"Nalb
,,[Na,bali.
ilIi"", Rdllli(J",bip
"'J1hJi,
bd
,;:;,b
AnTIll FJ""h<,b
K
Ju1l1ph
Through EmpmJ
Eugmi" M""'''
fim
""'1111111
aran/,lI
Grand
e"'Ir
of
hmtb
1.
'gimo/Ho1Wllr
OJ,, in
,\/<1"",
Fontalruhkau
Plou
ghing in N
i

,'em
~i
s
(/84S)
0",
"&nhrorl
'"""
"Mffaud
""imingy. /,
it
/m"J
on
Bonb",,-', "','"
mulj",
and
alI"
imp;".lI
by
Po"N",
il
",~""m!b

mtury
l)rltch
i11li1l1aJ
paint'"
Tb,
nobility
a/lb."
bUK'

labouring
ani1l1ah
"PP<=
to _paD"
lb,
1fta;"nuJf(Jftb.
111m
drn:;"g tlmn
T
he eldest
of
IiJur
child
"'
n - all
"f
th,,"
ani,u
_
RoSOl
fi<,nheur <k:cid"d
early'"
'1',,,iali,,,
in
I

in,ing
and
sculpting
animals.

lie,
Iit'her encou
rJ.g("(1
her
h)
alkJwing
~
sh,,,p
'"
be
kel"
On
,he
b:.
k:
ony
of
their sixth·
n
om
I'.ris apatbllen,.
llonbeur's unc"m.:ntion.lity
w"ls'
ke}TlO'e
'"
h

He:
4e
wore cr

<1'
I",d h.i" ,mok,,1
in
public and,
whm
"i,iting
,hughterhou<t:s a

1
m"LetS
to study
.nim.1
an.tomy
, C3,ried
au,h
or
i""i
""
by the Paris
Pn::h::<ttJre
'0
wu,
a
m.n's
'n"

s
~nd
""'Jeli:
in

pulllic.
The
SOIme
outfi, worn to ,be thC3tre d
n::
w loud
"""l~.ints
fmm a
m.n
in
the next
IlOx
, until he was ,okl
,ha'
4e
"'s
the
Etm()us
a'bSL
l
lonheur
"Jmmunica,ed
•
di"'ctne«
.nd
hone"y
with h

nimal subjects. so
,di-eshing~'

fret:
fnJlll
'he
social
"Jmcntions
,ha,
,he
h.d
to
""'tend
with herself
as
,hey
were.
Il
er
worl
"'s
.echin",d
h).'
'he
S.lons
.nd
she
m.de
•
good
li"ing
f,om
it, while

st,,,ring
de1r
of
the
"'ml~1:X
sm,imen,.li,},
of
,be age.
'I
he
n::
,,",S no
n'''m~''
smtimen,ality.,
her
ch.""u
when::
>he
hou
sed.
men.gerie
,h.,
included.
p,i,
of
li
on<, •
>tag
, C3ttle, num.
:mus

<
~,gs
and.
P'rtlJL 'I
he
ch.,c:tu
-as
al,o hon'"
'"
a f
n::
e 1rt
.ch
m
l:
1I000h "

as.
'yml"theti;
,cacbcr, just
as
her
f.ther
h.d
been. She "'s
well·1mown~"
he,
gencr"
,i,y
",

,,
",,d.
ani,1S
in
<lifficuhya

IIi>
, m.king
p,mision
~"<"I'el)'
one
who w
<l<k
,,1 f
,,<
he,
.
Buffiolo
Bill (/889)
A porn-a;,"[Colmu/
It;Ui"m
f:
Cody,
",/m-t'i"
.b",,,.,,
il!
,b.
,/w!:-"",n
'BuffillJ
Bir.

Thi, por1rai,
"'a,
mw/.
afur
Co,ryl-
t',i,
Jo
&nb"rrJ
roa,,,m, during
lb.
EtlTop<= "'tIT
o[bu
Wild
U·
'51
&bj,itil6l
in
/889. A[u,-
&nNllrl-
dwb,
i,
"'il!
"f""dtlad
'"
a
po51<1"
w/"<rliring
lb.
,bm;,',
Jour"

1905
I4fO(!)
1480(')
1486
"

HI6
HIERONYMUS BO
SC
H
B()rn
Himm
y,"'"
t'1l1I
A1:m
in 't_
/f""'gmixJw,
",n
"[apainw'
M~rri"
Alry'
GayafftJ !'an
dm
ilfun.
-
m'"
Joim
Brorb.,-b.lod
o/Ollr uuly
La"

Judgement
w,","irriotU&
by
Pbiip I
of
S""in
1);"
in
'r_
Hm
ogmixJJ<b
King G
~s
f"'rd.
AdorAion
of
the
M:.ogi
(d""il)
(151(1)
Bow',
/i",r
""rh
tkpicud
fr~'"
and
larg"
fig"'"" playing
OIl'
Q

'ingk
r m" Gaspard
j,
","
</
rb, Magi in
&,ro)
'-"";iII
of
,b,
At/()rariorl_ B,bind him,
bit
pal:'
1:'<'1lTT
a bi=arr, 'bomy
}mmdrnJ, 'Y,"/xlic
</
,b,
oo/y
<Tin::"
,bat
ebri"
;;:il/
r.'.,- '
::'IIT
H
ictn"}"llus Rosch
C~n
not be litllliliar I'r"y"ms
~nd

~JIIJ
()r
c
t()
<,<",unCn,
on
C3tcg<>rj,,,d.
lie
links back
to
the
,hi: hWlla"
""n<~tj()n.
IIi.
,,,,,,,,, tion<_'IHcad
l1lini.,urc
naru,;,·c.
secn
On
across
,h
Oll
<:inds
of
in<ti"idwl
figu
n:
<
in
the

illumin.",d
"':l"uscriplS
.,
the Slme
.ime
H
anticipating the
pOlS
and I"
ns
"fDu",h
gL-n,C
painting. Ilis
f.milr
WIT"
lay
"",,,,I,cr<
of
,h<
Bro,hcrho(kl (
,(
Ou,
Lady
in
\<_
llertogenl ,sch.
1ni<
Catholic gr()up W
()<
kt,]

~"
the cul'ural
brncfi,
of
the
<:i,y

hen: Hosch liH:d and (tied.
Hosch's
unbridl

J imagina,ion cxplo(k:s as
h<
dcpicts life as a c
on
,inua I struggle betw, :n man
and his inner na'un:. "I
nere
are
"'any
,h<'"ries
about
his "-"onishing ,-is;
o"
: one
of
the mo"
persisten,
being
,h.,

his s}'nb
oli'11l
enc
o
des
,he
do
crrin'"
of
a he
n:
,ical
('",(",ic
S<'"
""lied
,he
Ca,harS, \\'I,.",,-e,
H(.o;ch
hctiL~-"L
hI:
h1d an
aCute awa
n:
n",S (
,(
hwnan
p»"h(~ogy.
lie
uscs
,reming

p1nds
of
his ,riPlj-ch< _
a,e
continually
,urf:tCing, as
if
to
"]moni,h
,he
,-iewer
0'
p<oc
l.im
a
n:,da,i
()fl,
and
'h,

diving ag1in
inn)
,he ,wnul,.
Ik.o;ch
p,inn::d alia prima,
,ha'
is
<~n:ct~·
onto
a gr()und wi,h no und",!" in'ing

0,
gta>cs, •
m<~hod
which ""lied
~)r
(xpen
h.ush

o"'.
"I
l>c:
register
,ha'
""'onls
his
dc:tth describes
Bosch as 1 'dis,inguished
pain,er'.
lie
"'""s
rerninly
1 strung
inn""nre
on
Bru
egel
the
Elder
and his allegori", of ,-ilt.g.:
lill::.

b,er,
lk,sch's
I"
intings we
n:
a,-i(Hy
collect"]
Il)'
I'hilip
II
(,( SI"
in.
he~,
n:
,he
I'ro,e
,t:t
n'
Rct
o<l
nation
finally di'missed
him
to
(~',"",ri'
y.
o
j)
•
•

The
G~rden
or
E.orthly
Delight
s
(c
./500)
On,
if
lb.
bm
hi""",
if
&J<b',
painting!,
rbi,
it
,b,
"n",
p""'/
if
a bilK'
panorllmic
tripryeb.
711,
"''"f'O'ilion ;,
mll5urfoJ
in
,b,

"'try
b,
'""";fllli""
IN
picr<=-pJ_
"'ram
,b,
"""

and
difr-r""
J,,
~I!
if
aern:,ry
in
til<
pier
,
Argumm"
",,,tin,,,
.,.,.
&><h',
intmtioTIJ
,dtb
,bi,
"'",k,
ivtt."«1I
!Ix", 1
;:00

1N1ir ',
it ,b.m'r"
""rid
mgagro in rinfiJ
pI,am",
muJ
,00 roo
tbint
it
i,
001I'
humanity might
bi1'~
/i!·,d ,
:.';,Iwu,
,b,
fl
aD
"IAdam
and h "
SANDRO BOTIICELLI
144
:;
Born
AI,_ndro
di
Mariano
Pi/ini
in Plor",«.
"Jr/

of
a 'an1l<r
14
61_
67(')
14
67
_
70(')
Apprmrj"d
'"
Fra f;'lippo Lippi
IHapainr<r
ANJaa",,;:irb
A", ,;"
PoUa;""'.
and
J m-o bio
1470
Sm
up
"·
hlxJp
in
rlor",,,
,
ua;,~rfim
co,","i";",,
1472
Brol,"","m"'r"!

Sf LaJ:,', Guild
1474 Pai"" St
Scilliti.n
for
s"m"
.Uaria
Maggi"'""
N
ffl"
14
76-77
14
81_82
14
82_8r
14
8
4
92
14
91
14
97
/f
l O
Pai""
""r1rail
if
CiuJi"".
d,

;\1,dri
In
R
om"
thora'"
,blip'!
of
Pop<
Sirtu!
V,
/au
TIIl,",J
til<
Sisti",
Cbapd
Pai""
all'ga ieal
"'",.IT
Painrr
mtarpim,
form-""I
Florm"n.
dmrrb"
B"",""
follot.""
of
s"tmlll",i"
Tbrot
"''' iT
MID

'{J,mfiuroftb,
11m,,;,,'
j)j"
in Norm"
P
ri
m
",'''r~
(th'''il) (c.I478)
Tb,
grtIC"
co/wring
il1ld
ilrap<rin
aftb.
N
(Jf"Q
fig-
".=
/,amro
from f'ih'ppo lippi.
&"",,1/,\
,arry
la/ntt
for
drtr~,jng
trilJ
proiNlhJy
/a5t",d
by

lb.
PoIlaitl()kJ
broth",.
,;:00,.
"., }
al
gddmtitb,
and
mgm'YT'J uquirro
drafO'mambip
rf a bigh ani.,.
D
uring his
lilt:
Rotticd~
w""
oonn,-"""I
with three
m'j(
l<
l>hilo'ol'hies.
Iii
.
c.rlr
I'ic"m:s
.re
stlnd.
"I
,\ 1a,t'nn:l<,
k:.so "1M

1,,-"';(.1
J;dbl
llottict:Di's
<rleb
t,-,]
'1");In' wor
lo;,
7b,
Binb<!lhw
1 Pritlfllt""'.
hcrJ"hingch.nge<l.vin
in
1491,
f(
~]owing
m,,1e
~Jt
guilds
.nd
I'ri,.",
clienlS. IlowCl'cr, thl:
d".,h
of
Llr"nzo.
Giro!.mo
S""n'ru!.
,
Rotticd]i's reJ.tionshil' with co",'!:ntion.1
f.n.,ie.1
,'ic r.g.::ncr.1

of
the
Dominic.n
s,
Christi.nitru

lcrwcnt, (~cal.diu;;t",
.
:ntwhen
.ni,'cd
to
d.im
Florenet: I

d
1<"
Christ.
he won the
1"
tron.ge
of
Horenti
nl:
ruler,
Sa,onm~a
i"-"it",,,1 the inf
",ous
'll
onfires
of

Lorenzo dt:' ,\ 1"lici. the V.nitics·
.nd
llottiet:lli,
nOw
one
of
his
Dc:'
,\
bG<i
ad,
,,
ea,,,d hwn
nO;.I1\
th",ugh thl:
~,lIowerS,
ol><:,~endr
th",w
""'e",1
of
his
Own
N",·P1anlrli,ts. the
"'h(~.rlr
gnlUI'
of
men
hi:
,1N"'ing<
.nd

]

inting< into
thl:
A.mes.
The
"~I"",,,d
.,,,u

1 him. TIK;r
.i",

.,IS
nl
m
rrr
rem.ining pictures
of
his
e.re

.
re
notic""blr
d.ssical
I'haoso]>hr with
Uristianitr
~,r.n
mo
"

,,
>her
in
nlnc.
entirdr
new
';L'W
of
tl><:
unil'<"rS<::
one when: lIottiet:lli'"
",OoSt
E""ou;; pupil
""
Filil'l'ino
]"Vni,,,,
was
tc.<]lC""-,1
.nd

neg"rr
taught life's Lippi, S
on
of
Fili],,,,.
T
he
Mys
tic
N

:rth
';ty (/500)
711,
inHTiprion
"ftrring
to
tM
ApoCDIy""
and 'tTlJUhktoi Italy'
iT
in both 'rYu}
and Luin. Botti"Oi
hat
u"d
an
ttrroai(
dr.

ic, tha, magniji"
'M
VlTgi" and
Child;
alrog,rhN",
'h, pic,.".,
if
callingfor a
wurn
to ,""Jir.

ai

m(Kality
1701
1720
1721
1728_11
1711
1711
171
4
I7W
17H
176!i
1770
FRAN<;:orS
BOUCHER
B()rn
in
Pari"
JOn
of
an
"m/mNdny
dmgn<1"
Apprmli"d
a,
an
mgrat ,-
10
Can,
/"'<1"

m'",
nllllio,
ofumuy",
W;",
Ib,
Prir
d,
Ro"",
Studi"
in Rom,
Admi,,,,!
IlJ
th,
AGllJimr Ruylll'
a,
a bi'llJry
pai"'<1"
Marri"
iIIari,·
J,a"'''
&"au,
'bry
Ja,"
bat
"
,b=
childrm
BrnJm"a
M'lnkr
ofth,

,-J.oom'Y
and,
I",,,,
Profoor
and
R
<CllJr
G",m
pa"Mag'
"
Mad"m,
d,
Pompaoour
BrnJm" dirUllJr
if
,b,
R"Jal Goo.bm
fMory
Mad,
Fim
Pai"'lT"
'" I1mit
XV
Oi"
in Pari,
Oth
li
,,!ue (1745)
Bouch" oomir.d
lI~n",u,

,
;:l](m
""'}
b,
nl</Ji<d
and
"pod""d
ilJ
mgrat
'ingr in bi, youth.
H<r~'n

",
,b,
"",,,Ill
odab'quu tbat Bouch"
prud""d
f()r
/.Qui,
XV
and t'ario'"
()lim-
pit
-
""
cirnn
'I
nn
a
far

cry
from
'k
Acadnny-apprm-<d
f<~e
gabn"',
1
"bi,b
barhd
Inx}
'"
an
<1"a
" ro,,,,ly
Im
-
,_
H
i,
"tIt",;,-,
1""ng
",",/Illn ilY'
t~ry
m",b
of
'Ii<ir
.,,'n
tim,
:
'Th,

pmy
tbing
i,tb,
",u}
Oftli<
ag'
_
and
tb,
gmiU!
if
Boucb"'
F
rench art
of
the
rightttnth
Ct:ntury took
its
cue
from the hedonistic
COurt
at
Versailles
and
espttiallr
fmm Louis
",
Y',
mi,rress M


dame de
Pon~l1dour,
wh
(",
e
f,,,,urite
anist
w'1
s FrJ."'.,';< Ro ,he"
Roucher
was
the
sup
n:
me cxponent
of
Ro
cc.
::o
, a lu_mrious
d,-'::o1'1ti,'e
strle
, which
sensuous, light.hcar",d
m}~h
,
~ogi<:":ll
subjectS:
godde><e<

and
cupids cOl'orting
happilr
.nl(lngSt the
douds
mim
,
ed
the self.
indulge,",e
of
the
Frmch
ar;'t[)er'1<:)
AC'l<itmic
ohje",io.,s were rais,,!,
hmh
to
il<, ,her's subject matter and
use
of
,,~our
.
but
these were as much against the self· made
dominated
the
wulthiest
home interiors. M


rquise de
Poml'''[our'
.
I"""etfull""nnagt:
Al
n:
adr
an
cxttllmt
draugh~'11lan
.
he rrained
as
against il<",cher himself. After
all
.
was
it
,"It
with Lm",)',",. the
ttiling
anist at Versailles:
u,uallr
ari'tocratic
mm
who commissioned
fnml Lmlo}TIe
I ::
l<:":lrn",l"
,'erS:ttile technique

pi
cru
",
<
of
enticing. p
earlr
nudes?
that
he
apl
~
ied
to all
the
de""

ti,"
3Jts he
"1<
il<JUcher

"1<
"LTr hard wo ling: he would
engagt:d
in
.
fr,
. "
"'I""")'

to
I"
,
ttlain
designs.
oftm
'pe I twel,'e
",urs
,
dar
at his
e" :I
and
After
th
n:
c
J'e'1rs
in
Rom". lIouch,,, tti",1 1'1n" busr Studio where
F1'1g
()fl
ard ,,"1<
01'"
of
dL,nonsrrating
his
seriousness with a
h::w
hi"",y

his pupils,
lI
e
<lid
h,",
a hcautiful

ife with
paintings, Rut they were not to the
curr<TIt
ttstC
ex
p
"n,i",
"'->les
that he
""1<
ohligt:d
nl
please.
Or
fashion
of
the
timt
. so he

mt
f,
,

the m("'t but
deda
n:
d he would "",'er wi,h to exchangt:
luenti,'c ,,'nllnissio
f1S
and
wOn
fame

ith his his
Ca
"'
LT
f
oO'
'11)-' o.her,