Painters And Their Works A Dictionary Of Great Artists Who Are Not Now Alive Giving Their Names Lives And The Prices Paid For Their Works At Auctions

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Painters and Their Works, Vol. 1 of 3: A Dictionary of Great Artists, Who Are Not Now Alive, Giving Their Names, Lives, and the Prices Paid for Their Works at Auctions; Aalst to Hyre Although the expression The Old Masters has become habitual, it is in reality, very misleading for those who have not studied the history of Art. Without going back to pre-historic times, if artists were classed with anything like correctness, the Egyptians would be The Old Masters for it would be easy to show that during more than three thousand years there has been a succession of painters, and that The Revival of the Arts and La Renaissance simply indicate a time when certain styles of Art, that had existed long before the fourteenth century, were imitated. The works of the masters who lived in Europe in the Middle Ages have almost disappeared through neglect or ill usage. Yet enough of them still remain to show that, whether they executed their works in tempera, fresco, miniatures, or by some other means, there never was a time, since history began, when there were not any painters of pictures. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Painters and Their Works, Vol. 3 of 3: A Dictionary of Great Artists, Who Are Not Now Alive, Giving Their Names, Lives, and the Prices Paid for Their Works at Auctions; Sabbatini to Zyl, and Appendixes IN order to avoid the repetition of such words as born, died, etc., the following abbreviations will be used: B., born (place and date) D., died (place and date); S., scholar of (name of master) L, imitated (name of artist) P., painted (history, landscape, etc., as the case may be). The date immediately preceding the price refers to the period at which a picture was sold, and not to that of its execution. Sabbatini (andrea), called Andrea da Salerno. - B. Naples, about 1480; D. Naples, 1545 or 1550; S. Zingaro Vecchio and Raphael P. History and portraits. After working under Raphael at the Vatican, Andrea returned to N aples, where he was much employed by the nobility, and ornamented many of the churches with his works. They are much in the style of those of Raphael, although in some of them the limbs are too muscular, and the shadows too dark. At Solly's sale in 1847, an Adora tion of the Magi, by this artist, fetched £78 15s. Sabbatini (lorenzo), called Lorenzino da Bologna. - B. Bologna, about 1540; D. Rome, 1577; s. P. History and portraits. It is not known under what master this artist worked before he was called to Rome, in the Pontificate of Gregory XIII. But he certainly studied carefully the works of Raphael and Parmigiano, and became one of the best artists of his time. Agostino Carracci engraved one of his pictures, which he admired so much that he recommended his scholars to copy those which were in Bologna. At Rome Lorenzo painted, in conjunction with Federigo Zuccaro, some of the Labours of Hercules, his but chief pictures are at Bologna. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.