Yahoo Search Busca da Web

Resultado da Busca

  1. Orazio Gentileschi. Orazio Lomi (født i 1563 i Pisa, død 7. februar 1639 i London ), bedre kjent som Orazio Gentileschi, var en italiensk maler i manierismen og barokken, etterfølger til Caravaggio. Han var far til Artemisia Gentileschi . Gentileschi virket fra 1586 i Roma, og fra 1626 var han hoff maler hos Karl I av England.

  2. Orazio Gentileschi被认为是卡拉瓦乔学校中最好,最有才华的门徒。 Gentileschi受佛罗伦丁举止主义的熏陶,从弟兄和叔叔那里接受画家的训练,于1580年去罗马,在那里他为梵蒂冈图书馆创作壁画。卡拉瓦乔周围的艺术家群体中约有1600宗祭坛和画架的交易。

  3. ORAZIO. (1563-1639) Peintre italien baroque né en 1563 à Pise, mort vers 1639 à Londres. Orazio Gentileschi, de son vrai nom Orazio Lomi, étudie tout d'abord la peinture avec son demi-frère, Aurelio Lomi. Vers 1585, il se rend à Rome où, entre 1590 et 1600, en compagnie du peintre paysagiste Agostino Tassi, il peint des fresques pour les ...

  4. Orazio Gentileschi ( Pisa, 1563 - Londen, 1639) was een Italiaans kunstschilder. Hij was de vader van de schilderes Artemisia Gentileschi. Gentileschi was naast Bartolomeo Manfredi ( 1563 - 1639) een van de eerste navolgers van Caravaggio. Hij was opgeleid als goudsmid, en trok rond 1577 naar Rome. Hij werd daar pas in 1588 als schilder vermeld ...

  5. Orazio Gentileschi (1563–1639) Birmingham Museums Trust. (bapt. Pisa, 9 July 1563; d London, 7 Feb. 1639). Italian painter, active mainly in Rome, where he settled in about 1576. After working in a Mannerist style he became one of the closest and most gifted of Caravaggio's followers. He was one of the few Caravaggisti who were friends of the ...

  6. Jul 9, 1563 - Feb 7, 1639. Orazio Lomi Gentileschi was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists. After 1600, he came under the influence of the more naturalistic style of Caravaggio.

  7. But a majority of art historians still attribute this painting to Orazio Gentileschi. There is reasonable consensus on the dating of this earlier work. Most art historians place it in the 1608-1612 period, with one exception dating it after Artemisia’s version.