Mannerism came about towards the end of Leonardo da Vinci’s and Raphael’s careers around 1520, realizing its full expression in the career of artists like Michelangelo (1475 – 1564). Da Vinci’s The Last Supper and Raphael’s The School of Athens are two of the strongest examples of the balance between High Renaissance traditions and Mannerism. At the turn of the 16th century, until about 1525, Italian art was also classified as the High Renaissance, a zenith of da Vinci’s work, along with the late works of Giorgione (1477 – 1510) and the emerging work of his succeeding Venetian master, Titian (1485 – 1576). The late works of Andrea del Sarto (1486 – 1531) and Correggio (1489 – 1534) also began to define the emergence of Mannerism from the High Renaissance. Where Italy’s Renaissance centered around Florence and the Florentine masters, Mannerism was largely born of the great patronage of Rome. Here painting, architecture and sculpture was experiencing the pinnacle of the Italian Renaissance’s influence and, artists began to experiment with the more expressive touches of Mannerism, before a return to naturalism in the Baroque period. The career of Giulio Romano (1499 – 1546) embody Mannerism in painting and architecture, developing a distinct Roman style after learning from the master Raphael. Though the development of Mannerism in Florence can be seen in the works of Agnolo Bronzino, called Il Bronzino (1503 – 1572) and Tintoretto (1518 – 1594) also defined 16th Century Italian art in the Venetian style. Other notable Italian painters active in the 16th century include, Il Sodoma (1477 – 1549), Il Garofalo (1481 – 1559), Pontormo (1491 – 1557), Il Rosso (1494 – 1540), Parmigianino (1503 – 1540), Alessandro Allori (1535 – 1607), Jacopo da Empoli (1551 – 1640), Scarsellino (1550 – 1620), among many others. Perhaps the most important 16th century Italian artist, due to his contributions to painting and architecture, but even more so in his biographies, is Giorgio Vasari (1511 – 1574). In writing his biographical tome of artists, The Lives of the Most Excellent Painters, Sculptors and Architects, first published in 1550, Vasari solidified the impact of Italian art throughout the 14th and 15th Centuries and into 16th Century.
The Renaissance of 15th- and 16th-century CE Europe witnessed an extraordinary blossoming of artistic talent. In this collection of resources, we look at ten of the greatest artists from the period who offered a whole new approach to painting and sculpture. These masters were most interested in colours, light, proportion, detail, harmony, perspective, and giving their work a wow factor never before seen in art. Here is our list of the top ten Renaissance artists presented in the order of their birth:
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As Renaissance humanism opened up individual opportunities for education, growth, and achievement, a few women transcended gender role expectations. Some of these women learned to paint in their fathers' workshops and others were noble women whose advantages in life included the ability to learn and practice the arts. Women artists of the time tended, like their male counterparts, to focus on portraits of individuals, religious themes and still life paintings. A few Flemish and Dutch women became successful, with portraits and still life pictures, but also more family and group scenes than women from Italy portrayed.
DEA / A. DE GREGORIO / Getty Images (1490-1530) An Italian sculptor and miniaturist (she painted on fruit pits!) who learned art from Marcantonio Raimondi, Raphael's engraver.
(1510?-1576) Levina Teerlinc (sometimes referred to as Levina Teerling) painted miniature portraits that were favorites of the English court in the time of the children of Henry VIII. This Flemish-born artist was more successful in her time than Hans Holbein or Nicholas Hilliard, but no works that can be attributed to her with certainty survive.
Heritage Images / Getty Images (1527-1587) Referred to variously as Catarina and Catherina, she was a painter from Antwerp, taught by her father Jan van Sanders Hemessen. She is known for her religious paintings and her portraits. Fine Art Images / Getty Images (1531-1626) Of noble background, she learned painting from Bernardino Campi and was well known in her own time. Her portraits are good examples of Renaissance humanism: the individuality of her subjects comes through. Four of her five sisters were also painters.
(1540?-1565) Sister of Sofonisba Anguissola, her surviving work is "Dr. Pietro Maria."
(1547-1612) An engraver of Mantura and Rome, unique among women of the time in being permitted to put her name on her plates. She is sometimes referred to as Diana Mantuana or Matovana. De Agostini / Biblioteca Ambrosiana / Getty Images (1552-1614) Her father was the artist Prospero Fontana and it was in his workshop that she learned to paint. She found time to paint even though she became the mother of eleven! Her husband was the painter Zappi, and he also worked with her father. Her work was much in demand, including large-scale public commissions. She was official painter at the papal court for a time. After her father's death she moved to Rome where she was elected to the Roman Academy in recognition of her success. She painted portraits and also depicted religious and mythological themes.
(1552-1638) Her father was Luca Longhi. She focused on religious themes, especially paintings depicting the Madonna and Child (12 of her known 15 works).
(1560-1590) La Tintoretta was Venetian and apprenticed to her father, the painter Jacobo Rubusti, known as Tintoretto, who was also a musician. She died in childbirth at the age of 30.
(1571-1624) Esther Inglis (originally spelled Langlois) was born to a Huguenot family that had moved to Scotland to escape persecution. She learned calligraphy from her mother and served as an official scribe for her husband (she is sometimes referred to by her married name, Esther Inglis Kello). She used her calligraphy skills to produce miniature books, some of which included a self-portrait. Buyenlarge / Getty Images (1578-1630) She was from Milan, the daughter of a miniature painter. She first came to notice by the age of 12. She also painted some portraits and religious scenes and was commissioned to do several altarpieces in Milan, but realistic still-life with fruit in a bowl is what she's most known for today. Imagno / Getty Images (1589-1657?) Her paintings include still life depictions, portraits and even self-portraits (look carefully at some of her still life paintings to see her self-portrait reflected in an object). She disappears from history in 1657, and her fate is unknown.
Heritage Images / Getty Images (1593-1656?) Accomplished painter, she was the first woman member of the Accademia di Arte del Disegno in Florence. One of her best known works is that of Judith slaying Holofernes.
(1600-1670) One of the first women to paint still life studies, her paintings were popular. She worked at the court of the Duke of Alcala, the court of the Duke of Savoy and in Florence where members of the Medici family were patrons. She was official court painter for the Grand Duke Ferdinando II. |
What is the name of an artist in the 16th century?
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