Sandro Botticelli, (1445–1510)
Miracle of St Eligius, between 1490 and 1492
Tempera on panel
Height: 21.0 cm; Width: 269.0 cm
Uffizi Gallery, Florence
Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 –1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School. Botticelli's posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.
Botticelli was born in Florence. He was initially trained as a goldsmith. There are very few details of Botticelli's life, but it is known that he became an apprentice when he was about fourteen years old. By 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio's painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.
By 1470, Botticelli had his own workshop. His work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modelled forms.
In the mid-1480s, Botticelli worked on a major fresco cycle for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.
Botticelli never wed, and expressed a strong disliking to the idea of marriage, a prospect he claimed gave him nightmares. More on Sandro Botticelli
St. Eligius in his goldsmith workshop, c.1449
Oil and tempera on wood
Height: 85 cm (33.4 in); Width: 98 cm (38.5 in)
Metropolitan Museum of Art, New York City
Petrus Christus (c. 1410/1420 – 1475/1476) was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with linear perspective and a meticulous technique which seems derived from miniatures and manuscript illumination.
Christus was an anonymous figure for centuries, his importance not established until the work of modern art historians. Giorgio Vasari barely mentions him in his biographies of painters, written in the Renaissance, and near contemporary records merely list him amongst many others. In the early to mid-nineteenth century, Gustav Waagen and Johann David Passavant were important in establishing Christus's biographical details and in attributing works to him.
Christus was born in Baarle, near Antwerp and Breda. Long considered a student of and successor to Jan van Eyck, his paintings have sometimes been confused with those of van Eyck. At the death of van Eyck in 1441, it is thought that Christus took over his master's workshop. Christus purchased his Bruges citizenship in 1444, exactly three years after van Eyck's death.
It is unknown whether Christus visited Italy, and brought style and technical accomplishments of the Northern European painters directly to Antonello da Messina and other Italian artists, but it is known that his paintings were purchased by Italians. It would also explain how Italian painters learned about oil painting and how Northern painters learned about linear perspective.
Christus was made a member of the Guild of Saint Luke and made dean of the guild in 1471. More on Petrus Christus
Eligius was born in Aquitaine, now France, into an educated and influential Gallo-Roman family. His father, recognising unusual talent in his son, sent him to the goldsmith Abbo, master of the mint at Limoges. Later Eligius went to Neustria, the palace of the Franks, where he worked under Babo, the royal treasurer, on whose recommendation Clotaire II, king of the Franks, is said to have commissioned him to make a throne of gold adorned with precious stones.
Pere Nunyes
Presenting the chairs before King Clotaire II, c. 1526-1529
Tempera, oil and gilding with gold leaf on panel
Museu Nacional d'Art de Catalunya, Barcelona, Spain
The Merovingian King Clothar III (652-673), shown here as an old man with a crown, asked eligius, who was only a goldsmith then, to make for him a saddle (other stories claim say that it was a throne).
Pere Nunyes ( Portugal, 15th century - Barcelona, d. 1554 ), born Pedro Nunhes, was a Portuguese painter who arrived in Barcelona in 1513.
Nunyes was one of the many foreign artists who, in the absence of competent local artists, went to Catalonia. The presence of foreigners and the mobility of artists are consubstantial in the Spanish art of the 15th and 16th centuries.
Some say that Pere Nunyes could be Michelangelo's "Portuguese servant" than Francisco de Holandaquotes in his biography of the Italian artist.
Just when he arrived in Barcelona, Nunyes collaborated with Joan de Borgunya , the most requested artist in the city at the time. When he died in 1525, he inherited all the pending orders and work and became its successor.
He also collaborated with other members of the guild. At an early date, he sought to establish relations with the Neapolitan painter Nicolau de Credença, established in Barcelona since the end of the 15th century; later he will do so with Pere Serafí .
Pere Nunyes, with his partners, became the great dominator of the Barcelona art scene in the first half of the 16th century. The totality of their work is religious; only in some works does it incorporate any historical theme.
As the respect and prestige of the clients was gained, Nunyes obtained a good part of the orders, as Joan de Borgunya had done in her time. They both did "Roman-style" painting but still flamenco-based. More on Pere Nunyes
"From that which he had taken for a single piece of work, he was able to make two. Incredibly, he had accomplished the work commissioned from him without any fraud or mixture of siliquae, or any other fraudulence. Not claiming fragments bitten off by the file or using the devouring flame of the furnace for an excuse, but filling all faithfully with gems, he happily earned his reward."
Raymond Monvoisin, (–1870)
Chlothar II the Young, King of Neustria and King of the Franks, c. 1837
Oil on canvas
Height: 90 cm (35.4 in); Width: 72 cm (28.3 in)
Palace of Versailles
Raymond Auguste Quinsac Monvoisin (May 31, 1790 – March 26, 1870) was a French artist and painter.
Monvoisin was born in Bordeaux. At the age of eighteen Monvoisin fully dedicated himself to painting. He moved from Bordeaux to Paris and was employed at the workshop of Pierre Guérin. He studied in the Académie des Beaux-Arts of France, and his work soon earned him the support of the critics. He was hired by merchants, bankers and other members of the newly emerging middle-class. In 1819 he carried out his first exposition in the Museum of the Louvre. The fame he achieved in his own country earned him the Legion of Honor. After obtaining recognition in Paris, he travelled to Italy where he obtained a scholarship to study in Villa Medici in Rome.
Monvoisin travelled to Argentina and from there to Chile. He received an official invitation from the Chilean government to direct the Academy of Painting. Preceded by his fame, he was introduced to the high-class families of the capital and, in turn, to work as a successful portrayer.
He dedicated his efforts to many different activities during his stay in Chile. He traveled through the country, invested in mines, and created a ranching estate Along with French painter Clara Filleul, he mobilized the pictorial art in Chile and Argentina. He was elevated to a Knight of the Legion of Honor in 1857, and returned to France in 1858, but his fame had vanished.
He died in poverty in 1870 at Boulogne-sur-Mer. More on Raymond Monvoisin
Clotaire took Eligius into the royal household and appointed him master of the mint at Marseilles.
After the death of Clotaire in 629, his son, Dagobert, appointed his father's friend, Eligius, as his chief councillor. Eligius' reputation spread rapidly, to the extent that ambassadors first sought out Eligius for counsel and to pay their respects to him before going to the king.
Unknown artist
Clotaire II in treaty with lombards
I have no further description, at this time
His success in inducing the Breton prince, Saint Judicael, to make a pact with Dagobert, at a meeting at the king's villa of Creil (636–37) increased his influence.
Eligius took advantage of this royal favor to obtain alms for the poor, and to ransom captive Romans, Gauls, Bretons, Moors, and especially Saxons, who were arriving daily at the slave market in Marseilles.
Eligius founded several monasteries, and with the king's consent, sent his servants through towns and villages to take down the bodies of criminals who had been executed and give them decent burial.
Eligius was a source of edification at court, where he and his friend Dado lived according to the strict Irish monastic rule that had been introduced into Gaul by Saint Columbanus.
He founded in 632 a convent in Paris He also built the basilica of St. Paul, and restored the basilica at Paris that was devoted to Saint Martial. Eligius also erected several fine tombs in honor of the relics of Saint Martin of Tours, the national saint of the Franks, and Saint Denis, who was chosen patron saint by the king.
Unknown artist
Clovis II and Nanthild
I have no further description, at this time
On the death of Dagobert (639), Queen Nanthild took the reins of government, the king Clovis II being a child. During this regency, Eligius launched a campaign against simony in the church.
Pere Nunyes
Saint Eligius consecrated Bishop, c. 1526-1529
Tempera, oil and gilding with gold leaf on panel
Museu Nacional d'Art de Catalunya, Barcelona, Spain
On the death of Acarius, Bishop of Noyon-Tournai, Eligius was made his successor, with the unanimous approbation of clergy and people. Eligius was tonsured and constituted guardian of the towns or municipalities of Vermandois which include the metropolis, Tournai, which was once a royal city, and Noyon and Ghent and Kortrijk of Flanders."
Pere Nunyes
Saint Eloy baptizes the infidels, c. 1526-1529
Tempera, oil and gilding with gold leaf on panel
Museu Nacional d'Art de Catalunya, Barcelona, Spain
The inhabitants of his new diocese were pagans for the most part. He undertook the conversion of the Flemings, Frisians, Suevi, and the other Germanic tribes along the North Sea coast. He made frequent missionary excursions and also founded a great many monasteries and churches. In his own episcopal city of Noyon he built and endowed a nunnery for virgins. More on Saint Eligius
Unknown artist
Saint Eligius, bishop of Noyon, patron saint of goldsmiths and, by extension, of blacksmiths, metalworkers, hardware stores, blacksmiths, horses and, therefore, of farmers, carters , mechanics and garages
I have no further description, at this time
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