Mary Cassatt
Mary Cassatt's Oil Paintings
Mary Cassatt Museum
May 22, 1844 - June 14, 1926. Was an American painter.

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Here are all the paintings of Gentile da Fabriano 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
31718 Details of Madonna and child,with sts.lawrence and julian Gentile da  Fabriano Details of Madonna and child,with sts.lawrence and julian mk76 Painted c.1423-25 Tempera on panel 35 3/4x18 1/2in
1182 Four Saints of the Quaratesi Polyptych Gentile da  Fabriano Four Saints of the Quaratesi Polyptych 1425 Galleria degli Uffizi, Florence
81182 Quaratesi Gentile da  Fabriano Quaratesi English: c. 1425 Medium Oil on panel Dimensions Deutsch: 30 x 62 cm cyf
55923 Quaratesi Polyptych Gentile da  Fabriano Quaratesi Polyptych mk247 1422-25,tempera on wood,12.5x24.5 in,32x62cm,vatican pinacoteca,vatican city,ltaly
1185 The Adoration of the Magi  6 Gentile da  Fabriano The Adoration of the Magi 6 1422 Galleria degli Uffizi, Florence
1183 The Adoration of the Magi3 Gentile da  Fabriano The Adoration of the Magi3 1422 Galleria degli Uffizi, Florence
1184 The Presentation in the Temple Gentile da  Fabriano The Presentation in the Temple 1423 Musee du Louvre, Paris

Gentile da Fabriano
1370-1427 Italian Gentile da Fabriano Locations Gentile da Fabriano, whose real name was Gentile di Niccolo di Giovanni di Massio, came from Fabriano in the Marches. According to tradition, his family was an old one and moderately prosperous. His father, who was said to have been a scholar, mathematician, and astrologer, became an Olivetan monk when a monastery of that order was established in Fabriano in 1397. Gentile brother, Ludovico, was a monk of the same order in Fabriano, and Gentile himself was living in the Olivetan monastery of S. Maria Nuova in Rome at the time of his death. A document of Oct. 14, 1427, speaks of him as dead. Gentile art indicates that he was probably trained in Lombardy, perhaps in Milan. He worked in the then current International Gothic style, to which he brought his own personal quality. His earliest works display the decorative rhythmic drapery patterns preferred by the International Gothic masters, which Gentile tempered and ultimately abandoned after his contact with Florentine art. In a document of 1408 Gentile is recorded in Venice, where he painted an altarpiece (now lost) for Francesco Amadi. Testifying to his high reputation was his commission in 1409 for frescoes in the Doges Palace in Venice (painted over in 1479). Pandolfo Malatesta commissioned Gentile to decorate a chapel (destroyed) in Brescia in 1414. The artist is last recorded in Brescia on Sept. 18, 1419, when he departed for Rome to answer the summons of Pope Martin V. Gentile name first appeared on the roll of painters in Florence in 1421. He was in Siena in 1420 and 1424-1425 and in Orvieto late in 1425. From 1426 until the time of his death he was in Rome. Typical of Gentile early style is the polyptych (ca. 1400) from the convent of Valle Romita in Fabriano, in which Gentile displays the International Gothic love for naturalistic detail in the floral turf beneath the feet of the graceful, slender saints whose figures are swathed in rhythmic, linear drapery. The central panel, the Coronation of the Virgin, shows the love for calligraphic drapery so characteristic of Gentile early style. Other noteworthy early works include the much damaged Madonna in Perugia and the Madonna with Saints and Donor in Berlin. The altarpiece Adoration of the Magi, signed and dated 1423, was Gentile major work in Florence. In remarkably good condition, with its original frame still intact, it shows Gentile Gothicism now tempered by his contact with the more austere art of Florence. The rich display of gold leaf and brilliant colors were favorite International Gothic traits, but in the interest in perspective and foreshortening and especially in the exquisite predella panels Gentile shows the influence of the Florentines. The altarpiece for the Quaratesi family, signed and dated 1425, also demonstrates the composite quality of Gentile art. The fresco Madonna Enthroned in Orvieto Cathedral of late 1425 has few traces of the International Gothic style and displays a corporeality and fullness in keeping with his evolution after Florence. His last works, the frescoes in St. John Lateran in Rome depicting the life of John the Baptist and grisaille portraits of saints, were destroyed in 1647, when Francesco Borromini reconstructed the interior.
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