Pierre-Auguste Renoir | Stile artistico

Renoir è stato uno degli interpreti più convinti e spontanei del movimento Impressionista.

Artista prodigiosamente prolifico, con all'attivo ben cinquemila tele e un numero altrettanto cospicuo di disegni e acquerelli, Renoir si è distinto anche per la sua poliedricità, tanto che possiamo distinguere numerosi periodi nella sua produzione pittorica.

È lo stesso Renoir, in ogni caso, a parlare del suo metodo di fare arte:

«Dispongo il mio soggetto come voglio, poi mi metto a dipingerlo come farebbe un bambino. Voglio che il rosso sia sonoro e squillante come una campana, quando non ci riesco aggiungo altri rossi ed altri colori finché non l'ottengo.

Pierre-Auguste Renoir | Impressionist painter | Part.4

Pierre-Auguste Renoir, commonly known as Auguste Renoir (1841-1919), was a French* artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".

For biographical notes -in english and italian- see:
Pierre-Auguste Renoir | Impressionist painter ➺

For other works by Renoir see:

• Pierre-Auguste Renoir | Impressionist painter | Part.3 ➺
• Pierre-Auguste Renoir | Impressionist painter | Part.2 ➺
• Pierre-Auguste Renoir | Impressionist painter | Part.1 ➺
• Pierre-Auguste Renoir | Still Life with Roses ➺
• Pierre-Auguste Renoir | Woman with a Cat, 1875 ➺
• Pierre Auguste Renoir | Girl Asleep with Cat, 1880 ➺
• Pierre-Auguste Renoir | Le lettere..➺
• Pierre-Auguste Renoir | The Models ➺

Pierre-Auguste Renoir | Impressionist painter | Part.3

Pierre-Auguste Renoir, commonly known as Auguste Renoir (1841-1919), was a French* artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".

For biographical notes -in english and italian- see:
Pierre-Auguste Renoir | Impressionist painter ➺

For other works by Renoir see:

• Pierre-Auguste Renoir | Impressionist painter | Part.1 ➺
• Pierre-Auguste Renoir | Impressionist painter | Part.2 ➺
• Pierre-Auguste Renoir | Still Life with Roses ➺
• Pierre-Auguste Renoir | Woman with a Cat, 1875 ➺
• Pierre Auguste Renoir | Girl Asleep with Cat, 1880 ➺
• Pierre-Auguste Renoir | Le lettere..➺
• Pierre-Auguste Renoir | The Models ➺

Pierre-Auguste Renoir | Impressionist painter | Part.2

Pierre-Auguste Renoir, commonly known as Auguste Renoir (1841-1919), was a French* artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".

For biographical notes -in english and italian- see:
Pierre-Auguste Renoir | Impressionist painter ➺

For other works by Renoir see:

• Pierre-Auguste Renoir | Impressionist painter | Part.1 ➺
• Pierre-Auguste Renoir | Still Life with Roses ➺
• Pierre-Auguste Renoir | Woman with a Cat, 1875 ➺
• Pierre Auguste Renoir | Girl Asleep with Cat, 1880 ➺
• Pierre-Auguste Renoir | Le lettere..➺
• Pierre-Auguste Renoir | The Models ➺

Pierre-Auguste Renoir | Impressionist painter | Part.1

Pierre-Auguste Renoir, commonly known as Auguste Renoir (1841-1919), was a French* artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau".

For biographical notes -in english and italian- see:
Pierre-Auguste Renoir | Impressionist painter ➺

For other works by Renoir see:

• Pierre-Auguste Renoir | Still Life with Roses ➺
• Pierre-Auguste Renoir | Woman with a Cat, 1875 ➺
• Pierre Auguste Renoir | Girl Asleep with Cat, 1880 ➺
• Pierre-Auguste Renoir | Le lettere..➺
• Pierre-Auguste Renoir | The Models ➺

Roberto Ferri, 1978 | Drawings / Study

Inspired by Baroque painters -Caravaggio in particular- and other old masters, Roberto Ferri is an Italian painter known for working also in the Baroque Era style.

Ferri was born in Fontanaviva, Taranto, Italy in 1978.

For biographical notes -in english and italian- and other works by Roberto Ferri see:

Roberto Ferri, 1978 | Baroque Era style painter

Roberto Ferri, 1978

Roberto Ferri / Pablo Neruda | Il tuo sorriso..

Australian Art History and Sitemap

Gil Bruvel, 1959 ~ Visionary painter

Australian art is a broad spectrum of art created in or about Australia, or by Australians overseas, spanning from prehistoric times to the present day.

The art forms include, but are not limited to, Aboriginal, Colonial, Landscape, Atelier and Contemporary art.

The visual arts in Australia have a rich and extensive history, with Aboriginal art dating back at least 30,000 years.

Carolyn Biggio, 1958 | Still life painter

Born in Columbus, Ohio in 1958, Carolyn Biggio grew up in Baton Rouge, Louisiana. Her formal schooling earned her a Bachelor of Sciences degree; but she later took up studies in art with Henry Hensche at the Cape School of Art. Other classes with his followers deepened her commitment, and her career path shifted to painting. Ms. Biggio's paintings are pure light and color, primarily of still life. The thick impasto paint is laid on with a palette knife to create intense masses of color; shadows are equally vibrant, creating dimension with brilliant shifts in hue and value, rather than just local color. Ms. Biggio has exhibited her work nationally, receiving numerous awards.

Edward Moran | Seascape painter

Edward Moran (August 19, 1829 in Bolton, Lancashire, England - June 8, 1901 in New York City) was an British*-born American artist* of maritime paintings. He is arguably most famous for his series of 13 historical paintings of United States marine history.

• Early life and education

Moran was born to Thomas and Mary Higson of Lancashire, England on August 19, 1829. Following in the footsteps of his father's profession, he learned to operate a hand-loom at a young age, though he would often be found sketching with charcoal on the white fabric instead of plying the shuttle.

Othon Friesz | Fauve painter

Achille-Émile Othon Friesz (6 February 1879 - 10 January 1949), who later called himself Othon Friesz, a native of Le Havre, was a French artist of the Fauvist movement.

Othon Friesz was born in Le Havre, the son of a long line of shipbuilders and sea captains.

He went to school in his native city. It was while he was at the Lycée that he met his lifelong friend Raoul Dufy.

He and Dufy studied at the Le Havre School of Fine Arts in 1895-96 and then went to Paris together for further study.

Edward Hopper: "More of me comes out when I improvise"

• "What I wanted to do was to paint sunlight on the side of a house".

• "After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface".

Damian Tirado, 1960 | Fashion painter /sculptor

• Education: School of Fine Arts Cristobal Rojas Caracas Venezuela.
• Events: Painting, sculpture, performance carcom lons le saunier France.
• Exhibitions: 2013 Exhibitions 48th Grand prices Barbizon painting Mayor of St Raphael with the circle of European artists Dole room Carmelite Casino Contrexéville.

For biographical notes -in english and italian- and other works by Tirado see Damian Tirado, 1960 | Fashion Designer /Sculptor*.

Albena Vatcheva, 1967 | Fantasy painter

Albena Vatcheva is an French artist of Bulgarian origin who advances in a spectacular way.

Her painting has inherited various traditions, including that of masters of the icon.

Using different oriental sources, she has created a world of troubling fairy, which is a real fascination for the eye, as her glowing colors create magic.

Tender, loving, her characters live in a world of peace, harmony and mutual consolation.

Ryo Shiotani 塩谷 亮, 1975 | Figurative painter

"I paint realist paintings because I can make new discoveries as I thoroughly look at my subject. That is enjoyable".

Award winning* Japanese painter Ryo Shiotani 塩谷 亮 was born in Tokyo.

After graduating from Musashino Art University, Ryo Shiotani spent one year studying in Florence on an Agency for Cultural Affairs scholarship, where he had a chance to copy the works of Leonardo da Vinci*.

The Marathon Boy, 340-330 bc | Underwater discoveries

• National Archaeological Museum in Athens, Greece
• Marathon Youth or Ephebe of Marathon. 
• Bronze statue of a young athlete, found in the sea near Marathon (Attic coast). 
• The left hand was replaced at a later date by another shaped as a lamp. 
• Work of the Praxiteles school, ca. 340-330 B.C.
• Dimensions H. 1.3 m (4 ft. 3 in.)
• Accession number X 15118
• Department of Sculptures

The Marathon Boy or Ephebe of Marathon is a Greek bronze sculpture found in the Aegean Sea in the bay of Marathon in 1925. It is conserved in the National Archaeological Museum of Athens where it is dated to around 340-330 BC. The Museum suggests that the subject is the winner of an athletic competition.

Andre Kohn, 1972 | Impressionist Figurative painter

The precise convergence of three dynamic forces, culture, environment and talent, combined to produce one of the most collected figurative painters on the American art scene today.

Raised by an artistically gifted family near the Caspian Sea in southern Russia, Andre Kohn's childhood was marked by the natural splendor of mountains and sea, and by an unfettered access to all the creative arts.

His mother was a symphony violinist and his father a noted linguist, writer and sculptor.

Both were educators trained in psychology who gave their only child unrestricted opportunity to explore the depths of art and his own obvious talent.

Leonardo da Vinci | A treatise on painting

Science of painting

Leonardo’s advocacy of a science of painting is best displayed in his notebook writings under the general heading “On Painting”.

The notebooks provide evidence that, among many projects he planned, he intended to write a treatise discussing painting.

After inheriting Leonardo’s vast manuscript legacy in 1519, it is believed that, sometime before 1542, Melzi extracted passages from them and organized them into the Trattato della pittura [In italian] ➤ (“Treatise on Painting”) that is attributed to Leonardo.

Leonardo da Vinci | Dell'obbligo che ha la scultura col lume, e non la pittura

Trattato della Pittura

Parte prima | Capitolo 38

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Se la scultura avrà il lume di sotto parrà cosa mostruosa e strana; questo non accade alla pittura, che tutte le parti porta con sé.

Leonardo da Vinci | Dell'orizzonte

Trattato della Pittura - Parte ottava | Capitoli 235-258

Il Testo Integrale

Indice

927. Qual sia il vero sito dell'orizzonte.

928. Dell'orizzonte.

929. Del vero orizzonte.

930. Dell'orizzonte.

931. Dell'orizzonte.

932. Se l'occhio che vede l'orizzonte marittimo, stando co' piedi alla pelle di esso mare, vede esso orizzonte più basso di sé.

933. Dell'orizzonte specchiato nell'acqua corrente.

934. Dove l'orizzonte si specchia nell'onda.

935. Perché l'aria grossa vicina all'orizzonte si fa rossa.

Leonardo da Vinci | Degli alberi e delle verdure

Trattato della Pittura - Parte sesta | Capitoli 812-840

Il Testo Integrale

Indice

812. Discorso delle qualità de' fiori nelle ramificazioni delle erbe.

813. Della ramificazione delle piante.

814. Della ramificazione delle piante.

815. Della ramificazione delle piante.

816. Delle minori ramificazioni delle piante.

817. Della proporzione che hanno infra loro le ramificazioni delle piante.

Leonardo da Vinci | Delle ombrosità e chiarezze de' monti

Trattato della Pittura - Parte quinta | Capitoli 780-798

Il Testo Integrale

Indice

780. Prospettiva comune.

781. Delle cime de' monti vedute di sopra in giú.

782. Dell'aria che mostra piú chiare le radici de' monti che le loro cime.

783. Perché i monti distanti mostrano piú oscure le sommità che le loro basi.

784. Delle cime de' monti che si scoprono all'occhio l'una piú alta dell'altra, che le proporzioni delle distanze non sono colle proporzioni de' colori.

785. Delle cime de' monti che non diminuiscono ne' colori secondo la distanza delle cime loro.

786. Dell'inganno del pittore nella grandezza degli alberi e degli altri corpi delle campagne.

787. Perché i monti in lunga distanza si dimostrano piú scuri nella cima che nella base.

788. Perché i monti paiono avere piú oscure le cime che le basi in lunga distanza.

789. Come non si deve figurar le montagne cosí azzurre il verno come l'estate.

790. Come i monti ombrati dai nuvoli partecipano del colore azzurro.

791. Dell'aria che infra i monti si dimostra.

792. De' monti e loro divisione in pittura.

793. Pittura che mostra la necessaria figurazione delle alpi, monti e colli.

794. Pittura e come i monti crescono.

795. Pittura nel figurare le qualità e membri de' paesi montuosi.

796. De' monti.

797. De' monti.

798. Precetto.

Leonardo da Vinci | Sant'Anna, la Vergine e il Bambino con l'agnellino, 1510-1513 (detail)

Leonardo da Vinci | De' riflessi

Trattato della Pittura - Parte quinta | Capitoli 769-779

Il Testo Integrale

Indice

769. Dell'ombra interposta infra lume incidente e lume riflesso.

770. Dove il riflesso dev'essere piú oscuro.

771. Perché i riflessi poco o niente si vedono ne' lumi universali.

772. Come il riflesso si genera ne' lumi universali.

773. Quali lumi facciano piú nota e spedita la figura de' muscoli.

774. Come i corpi bianchi si devono figurare.

775. Dell'occhio che sta al chiaro e vede il luogo oscuro.

776. Dell'occhio che vede le cose in luogo chiaro.

777. Delle ombre e lumi delle città.

778. Dell'illuminazione delle parti infime de' corpi insieme ristretti, come gli uomini in battaglia.

779. Del lume particolare.

Leonardo da Vinci | Che differenza è da lustro a lume

Trattato della Pittura

Parte quinta | Capitoli 760-768

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Indice

670. Dell'universale illuminazione mista colla particolare del sole o di altri lumi.

671. Dell'ombra media, la quale s'interpone infra la parte illuminata e l'ombrosa de' corpi.

672. Se il gran lume di poca potenza val quanto un piccolo lume di gran potenza.

673. Del mezzo incluso infra i lumi e le ombre principali.

Leonardo da Vinci | Dell'ombra e lume, e della prospettiva

Trattato della Pittura

Parte quinta | Capitoli 533-560

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Indice

533. Che cosa è ombra.

534. Che differenza è da ombra a tenebre.

535. Da che deriva l'ombra.

536. Dell'essere dell'ombra per sé.

537. Che cosa è ombra e lume, e qual è di maggior potenza.

538. Che sia ombra e tenebre.

539. In quante parti si divide l'ombra.

540. Dell'ombra e sua divisione.

541. Di due specie di ombre ed in quante parti si dividono.

542. Qual è più oscura, o l'ombra primitiva o l'ombra derivativa.

543. Che differenza è da ombra a tenebre.

544. Che differenza è da ombra semplice a ombra composta.

545. Che differenza è da lume composto a ombra composta.

546. Come sempre il lume composto e l'ombra composta confinano insieme.

547. Che il termine dell'ombra semplice sarà di minor notizia.

548. Dell'ombra derivativa composta.

549. Come l'ombra primitiva e derivativa sono congiunte.

550. Come l'ombra semplice con l'ombra composta si congiunge.

551. Della semplice e composta ombra primitiva.

552. De' termini dell'ombra composta.

553. Del termine dell'ombra semplice.

554. Che ombra fa il lume eguale all'ombroso nella figura delle sue ombre.

555. Che ombra fa l'ombroso maggiore del luminoso.

556. Quante sono le sorta delle ombre.

557. Quante sono le specie delle ombre.

558. Di quante sorta è l'ombra primitiva.

559. In quanti modi si varia l'ombra primitiva.

560. Che varietà ha l'ombra derivativa.

533. Che cosa è ombra.

L'ombra, nominata per il proprio suo vocabolo, è da esser chiamata alleviazione di lume applicato alla superficie de' corpi, della quale il principio è nel fine della luce, ed il fine è nelle tenebre.

Leonardo da Vinci | De' panni e modo di vestir le figure..

Trattato della Pittura

Parte quarta | Capitoli 517-532

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Indice

517. De' panni che vestono le figure.

518. Delle maniere rotte o salde de' panni che vestono le figure.

519. Del vestire le figure con grazia.

520. De' panni che vestono le figure, e pieghe loro.

521. Del modo di vestire le figure.

522. De' vestimenti.

523. De' panni volanti o stabili.

524. Operazioni de' panni e loro pieghe, che sono di tre nature.

525. Delle nature delle pieghe de' panni.

526. Come si devono dare le pieghe ai panni.

527. Delle poche pieghe de' panni.

528. Delle pieghe de' panni in iscorto.

529. De' modi del vestire le figure, ed abiti diversi.

530. Dell'occhio che vede pieghe de' panni che circondano l'uomo.

531. Delle pieghe de' panni.

532. Delle pieghe.

Frida Kahlo: I paint self-portraits because I am so often alone..

"I paint self-portraits because I am so often alone, because I am the person I know best.."

"Dipingo me stessa perché passo molto tempo da sola e sono il soggetto che conosco meglio.."

- Frida Kahlo*

Leonardo da Vinci | De' movimenti dell'uomo e proporzione di membra..

Trattato della Pittura

Parte terza | Capitoli 259-286

Leonardo da Vinci | Trattato della pittura | Testo Integrale

Indice

259. Delle mutazioni delle misure dell'uomo pel movimento delle membra a diversi aspetti.

260. Delle mutazioni delle misure dell'uomo dal nascimento al suo ultimo crescimento.

261. Come i puttini hanno le giunture contrarie agli uomini nelle loro grossezze.

262. Delle differenti misure che v'hanno fra i putti e gli uomini.

263. Delle giunture delle dita.

264. Delle giunture delle spalle, e loro accrescimenti e diminuzioni.

265. Delle spalle.

266. Delle misure universali de' corpi.

267. Delle misure del corpo umano e piegamenti di membra.

268. Della proporzionalità delle membra.

269. Della giuntura della mano col braccio.

Loggia dei Lanzi, 1380 | Open-air museum in Florence

In the Piazza della Signoria, adjoining the Uffizi Palace, there is a masterpiece of Medieval architecture: the Loggia della Signoria, built in about 1380, to host public ceremonies and assemblies, during the republican period.

It is called Loggia dei Lanzi, because it is said that landsknechts (lanzichenecchi or lanzi in Italian) encamped here in 1527, while they were going to Rome.

Donatello | The marble David, 1409

Donatello*, in his early twenties, was commissioned to carve a statue of David in 1408, to top one of the buttresses of Florence Cathedral, though it was never to be placed there. Nanni di Banco was commissioned to carve a marble statue of Isaiah, at the same scale, in the same year.

Rosanne Pomerleau, 1958 | Figurative painter

Born in Ascot Corner.

Training: Self-taught painter.

Achievements: Solo and group exhibitions in Canada and the United States.

Honours: Prize of Excellence in 1986, silver medal in watercolour and Prize for Excellence in pastel at the Amsterdam Art International Exhibition in California, U.S.A.

The Selected works of art were exhibited in San Francisco in October 1998.

Member of the American Society of Portrait Artists since 1998.

Collections: Her work is part of public and private collections all over the world.

Tarcsay Bela, 1952 | Abstract painter

Béla Tarcsay was born in Nagykanizsa, Hungary. He lives in Szeged since 2000.

He is dealing with fine arts since 1994.

He intends to show in his paintings his love of nature.

He got his knowledge in fine arts in a self-educated manner. Beside oil paintings he makes attempts at graphics and pastel technique.

Willem Haenraets / William Shakespeare | Romantic Rhythm

Il mio occhio s'è fatto pittore ed ha tracciato

L'immagine tua bella sul quadro del mio cuore;

il mio corpo è cornice in cui è racchiusa,

Prospettica, eccellente arte pittorica,

Ché attraverso il pittore devi vederne l'arte

Per trovar dove sia la tua autentica immagine dipinta,

Pablo Picasso | Produzione artistica

Periodo blu

Partendo dal 1901 lo stile pittorico di Picasso incominciò a presentare tratti originali e nuove soluzioni artistiche; in quell'anno, infatti, ha inizio il cosiddetto «periodo blu», che si protrae sino alla primavera del 1904.

Questa fase artistica picassiana, come già accennato, scaturì in seguito alla morte suicida dell'amico Carlos Casagemas, come affermato dallo stesso maestro andaluso:

«Quando mi resi conto che Casagemas era morto, incominciai a dipingere in blu» - Pablo Picasso

Pablo Picasso | La nascita del cubismo

Dopo un'ulteriore vacanza a Horta de Ebro nell'estate 1909, Picasso una volta ritornato a Parigi decise di allontanarsi dal pur pittoresco squallore di Montmartre e di affittare - insieme con Fernarde e il loro gatto siamese - un appartamento al numero 11 di boulevard de Clichy, nei pressi di place Pigalle.

Qui si dedicò con assoluta e piena dedizione ai propri quadri cubisti, dando vita a opere quali La femme assise (1909) e Ragazza con mandolino (1910) e i ritratti effigianti Georges Braque (1909), Ambroise Vollard (1909-10) e Daniel-Heinrich Kahnweiler (1910).

Con queste tele Picasso, meditando sulla lezione di Cézanne, intendeva studiare il rapporto tra forma e spazio mediante il trattamento schematico dei piani e la scomposizione dei volumi: da queste premesse prese forma una fase che i critici d'arte definiranno «cubismo analitico».

Odilon Redon | Hommage a Goya, 1885 | The series

Homage to Goya (Hommage à Goya) is an portfolio of 6 lithographs on chine appliqué reveal Redon's admiration for the Spanish painter and printmaker, who died in 1828.

Title: Hommage a Goya

Autor: Odilon Redon (1840-1916)

Date: 1885

Style: Symbolism

Genre: Mythological painting

Media: Oil on cardboard, mounted on canvas

Location: Scharf-Gerstenberg Collection, Berlin

Odilon Redon | Apollo's Chariot, 1905-1916 | The Series

In 1878 Redon*, in a study of Delacroix*, praised that artist's ceiling in the Louvre showing the Chariot of Apollo, and in the same year he noted in his journal his admiration for a painting of Phaethon by Gustave Moreau*.

Between 1905 and 1916 Redon* devoted a number of oils, pastels and watercolors to the theme of horses of the sun, driven, according to classical mythology, by the god Apollo or his son Phaëthon.

Tenaya Sims | Figurative painter

Tenaya Sims received a BFA in painting and drawing at Carnegie Mellon University in Pittsburgh, Pennsylvania.

After working several years as a graphic artist in the video games industry for Activision, he began his classical studies at the Jeff Watts🎨 Atelier in Encinitas, CA.

He then moved to Seattle where he has completed four years of full-time study in the Gage Classical Atelier.

Rosso Fiorentino | Pietà, 1538-1540

This is the only easel painting that can be dated with certainty to Rosso's stay in France in 1530-40.

The cushions beneath Christ's body bear the blue alerions on an orange background of the coat of arms of Constable Anne de Montmorency, from whose château at Ecouen the Pietà was taken to the Louvre in the late 18th century.

The marks visible on the bodies of Christ and St John are due to an initial, reversed composition - vsible under X-ray photography - which Rosso had blacked out.

Rosso Fiorentino | Mannerist painter

Italian painter and decorator, Rosso Fiorentino (1494-1540), original name Giovanni Battista di Jacopo, was an exponent of the expressive style that is often called early, or Florentine Mannerism, and one of the founders of the Fontainebleau school.

Pontormo | Sacra famiglia, 1515 | Art in Detail

Jacopo Carucci🎨 (May 24, 1494 - January 2, 1557), usually known as simply Pontormo🎨, was not only an painter but also an sculptor from the Florentine School.

To him was attributed: The Holy Family, 1515, terracotta, h. 44 cm, exhibit in the Bode-Museum, Berlin, Germany.

For biographical notes -in english and italian- and works by Pontormo see:

• Pontormo | Mannerist painter🎨

Vitaly Tikhov | Social realist painter

Тихов Виталий Гаврилович (1876-1939) was an Ukrainian painter, one of the best and most talented students in Vladimir Makovsky's studio.

In the early 1910s his magnificent, large-format "bath-house" paintings were especially successful and much admired, and for these he was twice awarded the graduation Gold Medal of the Academy of Fine Arts, having studied there on two separate occasions.

Michelangelo | Bacchus, 1496-1497

Bacchus (1496-1497) is a marble sculpture by the Italian High Renaissance sculptor, painter, architect and poet Michelangelo. The statue is somewhat over life-size and depicts Bacchus, the Roman god of wine, in a reeling pose suggestive of drunkenness. Commissioned by Raffaele Riario, a high-ranking Cardinal and collector of antique sculpture, it was rejected by him and was bought instead by Jacopo Galli, Riario’s banker and a friend to Michelangelo. Along with the Pietà the Bacchus is one of only two surviving sculptures from the artist's first period in Rome.

Michelangelo | David, 1501-1504

David is a masterpiece of Renaissance sculpture created between 1501-1504 by Michelangelo.

It is a 5.17-metre (17.0 ft)[a] marble statue of a standing male. The statue represents the Biblical hero David, a favoured subject in the art of Florence.

Originally commissioned as one of a series of statues of prophets to be positioned along the roofline of the east end of Florence Cathedral, the statue was placed instead in a public square, outside the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504.

Cesare Augusto Detti | Genre painter

A painter from Spoleto who moved to Paris during the Belle Epoque, Cesare Augusto Detti (1847-1914) was an Italian artist, best known for his historical genre paintings in the nineteenth century.

Some of his works are included in the collections of the Uffizi and Galleria Borghese of Rome.

His father, Davide Detti, was an engineer and an amateur painter. As a result, his early interest in art was encouraged.

In 1861, he made the acquaintance of Francesco Coghetti, a painter from Rome who was creating murals at the Teatro Nuovo (now known as the Teatro Nuovo Gian Carlo Menotti).