Although influenced by the works of Classical Antiquity, Nicola was not simply an imitator. His figures are original creations that came into being through a thorough study and understanding of the antique prototypes and the reinstating of antique representations.

1273

1265

Arnolfo di Cambio, fra Guglielmo Agnelli, Niccolò dell'Arca, the young Michelangelo, Girolamo Coltellini and Giovanni Batista Boudard.

1264

synthesis of the French Gothic style with the Classical style of ancient Rome, as he had seen on the sarcophagi of the Camposanto in Pisa, such as the scene Meleager hunting the Calydonian Boar on a sarcophagus brought as booty to Pisa by its navy.

He moved to Pisa between 1245 and 1250,

Tuscany to work at the Prato Castle.

intertwining Classical and Christian traditions.

probably trained in the local workshops of the emperor Frederick II, and he attended his coronation.

Italian sculptor whose work is noted for its classical Roman sculptural style. Pisano is sometimes considered to be the founder of modern sculpture.[2]

also called Niccolò Pisano, Nicola de Apulia or Nicola Pisanus; c. 1220/1225 – c. 1284

Lippi's return to Florence took place--the date is disputed--at some time between 1491 and 1494

1488, Lippi went to Rome,

Filippino depicted his characters in a landscape which recreated the ancient world in its finest details, showing the influence of the Grottesco style he had seen on his time in Rome.

Tanai de' Nerli

Piero di Francesco del Pugliese

Perugino, Ghirlandaio

His first works greatly resemble those of Botticelli, but with less sensitivity and subtlety.

Botticelli,

illegitimate son of the painter Fra Filippo Lippi and Lucrezia Buti

Early Renaissance and first few years of the High Renaissance.

Florence, Italy

(Prato, April 1457 – Florence, 18 April 1504)

Vasari knew Sebastiano, but probably not very well; although he had been compiling material for some time, the first edition of his Lives did not appear until 1550, after Sebastiano's death, and it is not clear if he had specifically discussed the biography with Sebastiano.

"As so often with Sebastiano's drawings, the first impression is one of unrhythmic dryness; but the suggestion of atmosphere, the sensitively drawn contemplative faces and the subtle use of reflected lights and tonal transitions leave no doubt that [this] is from his own hand.

From early on he was innovative and ready to experiment in compositional details as well as technique, with a special interest in painting in oils on new surfaces, whether plaster, stone, alabaster or slate.

He became less interested in colour as his career progressed, and many later works are rather sombre, with touches of bright colour.

Sebastiano was trained in the Venetian tradition of rich, subtly varying, colours in oil painting

Vasari, probably much influenced by Michelangelo, places great emphasis on Sebastiano's turning away from art for a comfortable life as a well-paid courtier from this point, but may overstate the reality

He painted a number of portraits of the pope

following years Sebastiano mostly avoided very large commissions for churches, and concentrated on portraits, where he had a considerable reputation, and religious easel paintings, such as his Visitation for France (1518–19, now Louvre),[30] and his Madonna of the Veil

Raphael generally preferred, as has remained the case ever since.

he already shows an adaption to Roman style, especially that of Michelangelo, whose Sistine Chapel ceiling had just been completed

Michelangelo

Raphael

Giovanni Bellini and Giorgione.

Friends like Michelangelo and Ariosto

1511

Rome

Venice

High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school.

c. 1485 – 21 June 1547