Matthias Grünewald (German Renaissance painter, 1470-1528)

Matthias Grünewald was a German Renaissance painter of religious works who ignored Renaissance classicism to continue the style of late medieval Central European art into the 16th century.

His first name is also given as Mathis and his surname as Gothart or Neithardt. Only ten paintings—several consisting of many panels—and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty.

His present worldwide reputation, however, is based chiefly on his greatest masterpiece, the "Isenheim Altarpiece" c.1513-15, which was long believed to have been painted by Dürer. Grünewald grew up in Würzburg near Nuremberg, and from 1501-1521 he was proprietor of a workshop in Seligenstadt.

Man Ray | Jazz, 1919

Man Ray was American painter, maker of Surrealist objects and photographer.

Born in Philadelphia. Worked in an advertising office and then part-time as draughtsman for publishers of books on engineering, atlases and maps.

Attended life-drawing classes at the Ferrer Center, New York, under George Bellows in 1912.

After seeing the Armory Show in 1913, began to paint in a Cubist style.

Met Duchamp in 1915 and collaborated with him in initiating a proto-Dada movement in New York.

Eugenio Cecconi | Donna in lettura

Eugenio Cecconi nasce a Livorno l'8 settembre 1842 da famiglia benestante. Viene avviato, per volontà del padre, agli studi giuridici presso la Facoltà di Giurisprudenza dell'Università di Pisa anche se la sua reale passione si dimostra quasi immediatamente nel campo dell'arte.

Titian | An Idyll: A Mother and a Halberdier in a Wooded Landscape, 1505-1510

This painting is informed by the bucolic poetry of such classical sources as Virgil’s Georgics and Eclogues and Ovid’s Metamorphoses.

The subject of printed, painted, and drawn images, landscapes of shaded groves, musicians, shepherds, and languid nymphs were a quintessentially Venetian genre in the early sixteenth century.

Titian | An Idyll: A Mother and a Halberdier in a Wooded Landscape, 1505-1510 | Harvard Art Museums

The most celebrated, and perhaps most enigmatic, of these is Giorgione’s Tempest, which shows the same configuration of a seated woman and a standing figure found here.

The purpose, subject, and meaning of these evocative paintings is still unclear, leading some scholars to argue that they inaugurated a new genre of landscape painting, one based on secular rather than sacred sources. | Harvard Art Museums / Fogg Museum

Allan Douglas Davidson | An English Yum-Yum, 1906

"An English Yum-Yum: my lady lights the sombre day: A scene from The Mikado", signed and dated 'Allan Davidson 1906', belongs to a tradition going back to Whistler's Japanese subjects of the 1860s and '70s, by way of paintings inspired by visits to Japan by Whistler's pupil Mortimer Menpes (1887), Alfred East (1889) and the two 'Glasgow Boys', George Henry and E.A. Hornel (1893-4).

The picture's title is taken from Gilbert and Sullivan's Savoy opera The Mikado, first staged in March 1885. | Source: © Christie's

Leonor Fini (1907-1996)

Leonor Fini (Buenos Aires, 1907 - Parigi, 1996) nacque da padre argentino di origini beneventane e madre triestina di origini tedesche.

In seguito alla separazione, madre e figlia rientrarono a Trieste nel 1909 ospiti dello zio Ernesto Braun.

La bambina fu al centro di una strenua lotta tra i genitori.

La madre occultò la bambina adottando la tecnica del travestimento: Leonor Fini in futuro adotterà spesso, anch'essa, questo stratagemma per scandalizzare gli abitanti dei paesini del Carso sloveno o per divertire amici e colleghi.

Rosso pompeiano | I colori degli antichi Romani

Il rosso pompeiano si riferisce al colore del pigmento minerale a base di ossido di ferro con una tonalità vicina all'ocra rossa, così chiamato per il suo uso comune nell'antica pittura romana e per il fatto che è abbondante nei murales di Pompei.

Studi hanno dimostrato che le pareti con sfondi rosso pompeiano erano dipinte in vari modi, di cui l'uso del cinabro era il più costoso.

Con questo termine si definisce anche il colore rosso ocra di un intonaco caratteristico della ceramica romana.

Coordinate del colore

HEX #A22E37

sRGB1 (r;g; b) (162; 46; 55)

CMYK2 (c;m;y;k) (0; 72; 66; 36)

HSV (h;s;v) (355°; 72%; 64%)