Famous Italian Renaissance Painters

Leonardo da Vinci was a versatile Italian polymath of the High Renaissance, renowned for his expertise in painting, engineering, science, sculpture, and architecture. He worked in various cities in Italy, attracting a large following of students and admirers. His genius was evident in his diverse interests and empirical thinking, making him a leading figure in the Renaissance humanist movement. Leonardo's legacy includes iconic works like the Mona Lisa and The Last Supper, as well as groundbreaking inventions in areas such as aviation, warfare, and civil engineering.

Michelangelo di Lodovico Buonarroti Simoni, known simply as Michelangelo, was a renowned Italian sculptor, painter, architect, and poet of the High Renaissance. His work, heavily influenced by classical antiquity, had a profound impact on Western art. Michelangelo's creative genius spanned various artistic disciplines, making him a quintessential Renaissance figure alongside Leonardo da Vinci. He was celebrated for his mastery and innovation, evident in iconic works such as the Pietà, David, the Sistine Chapel ceiling frescoes, and The Last Judgment. Michelangelo's architectural contributions and artistic legacy continue to inspire generations.

Sandro Botticelli was an Italian painter of the Early Renaissance whose posthumous reputation was revived by the Pre-Raphaelites in the late 19th century. Known for his mythological and religious subjects, he also painted portraits. His renowned works include The Birth of Venus and Primavera. Botticelli spent most of his life in Florence, with short periods working in Pisa and Rome. His style evolved over time, with the 1480s being his most successful decade. Towards the end of his career, his style shifted back towards a more Gothic or "archaic" aesthetic.

Titian, also known as Tiziano Vecelli, was a prominent Italian Renaissance painter from Pieve di Cadore, near Belluno. Renowned as "The Sun Amidst Small Stars," he excelled in portraits, landscapes, and mythological and religious subjects. His innovative painting methods, especially his use of color, influenced generations of artists. Titian's career was marked by success, attracting patrons from Venice, northern Italy, and beyond. Alongside Giorgione, he is regarded as a key figure in the Venetian school of painting. Throughout his life, Titian's artistic style evolved while maintaining a focus on color and brushwork.

Masaccio was a pioneering Florentine artist of the Italian Renaissance, known for his lifelike figures, use of perspective, and three-dimensionality. He is considered the first great Italian painter of the Quattrocento period, influencing future artists with his innovative techniques. Masaccio's skill in imitating nature and employing nudes and foreshortenings set him apart. He transitioned from the elaborate style of the International Gothic to a more naturalistic approach, introducing techniques like linear perspective and chiaroscuro. Despite his short career, Masaccio left a lasting impact on the art world.

Giovanni Bellini was an influential Italian Renaissance painter known for revolutionizing Venetian painting with his sensuous and coloristic style. He utilized clear, slow-drying oil paints to create deep, rich tints and detailed shadings, setting a new standard in the art world. His sumptuous color palette and masterful handling of atmospheric landscapes had a profound impact on the Venetian painting school. Bellini's artistic legacy continued through his pupils Giorgione and Titian, who further developed his techniques and approaches.

Giorgio Vasari was an Italian Renaissance painter and architect, known for his influential work "Lives of the Most Excellent Painters, Sculptors, and Architects." He served as a Mannerist painter and architect, gaining recognition during his time for his contributions to art and architecture. Vasari held a prominent role as the minister of culture to the Medici court in Florence, promoting the idea of Florentine superiority in the visual arts. He designed the Tomb of Michelangelo and his writings on art history played a significant role in the development of the concept of Renaissance.

Paolo Veronese was an Italian Renaissance painter known for his large history paintings of religion and mythology. Alongside Titian and Tintoretto, he dominated Venetian painting in the 16th century. Renowned for his use of color, Veronese transitioned from Mannerism to a naturalist style influenced by Titian. His elaborate narrative cycles were characterized by dramatic and colorful scenes set in majestic architectural settings. Particularly famous for his biblical feasts, he was also a leading painter of ceilings. Despite some criticism, he has been admired by influential artists like Rubens, Watteau, and Renoir.

Pontormo was an influential Italian Mannerist painter and portraitist from the Florentine School. He achieved fame for his unique stylistic approach, characterized by twining poses and ambiguous perspective that departed from the traditional calm and perspectival regularity of the Florentine Renaissance. His work showcased a distinct shift in artistic expression, with figures appearing to float in an uncertain environment, free from the constraints of gravity. Pontormo's innovative techniques and profound stylistic choices have left a lasting impact on the art world.

Andrea del Verrocchio was a renowned Italian sculptor, painter, and goldsmith known for his mastery of a prominent workshop in Florence. He earned the name Verrocchio from his master, a goldsmith. While few paintings are definitively attributed to him, he trained influential painters such as Leonardo da Vinci, Pietro Perugino, and Lorenzo di Credi. Verrocchio's legacy primarily lies in his sculptural work, with his Equestrian statue of Bartolomeo Colleoni in Venice considered his masterpiece, showcasing his exceptional skill and artistic vision.

Paolo Uccello was an Italian painter and mathematician known for his pioneering work on visual perspective in art. He was obsessed with understanding perspective and would spend sleepless nights studying vanishing points. Uccello's use of perspective created a sense of depth in his paintings, particularly evident in his famous works depicting the battle of San Romano. Working in the Late Gothic tradition, he focused on color and pageantry rather than classical realism, resulting in an idiosyncratic style that did not spawn a direct artistic following.

Fra Angelico, a Dominican friar and Italian Renaissance painter, gained renown for his religious frescoes at San Marco in Florence. His exceptional talent was praised by Giorgio Vasari, describing him as having a rare and perfect gift. Known as Fra Giovanni da Fiesole and Fra Giovanni Angelico, he is also called Beato Angelico. Pope John Paul II beatified him in 1982 for his holiness. Vasari lauded his humility, piety, and skill in painting religious subjects with ease. Fra Angelico is commemorated annually on 18 February.

Andrea Mantegna was an influential Italian Renaissance painter known for his innovative use of perspective in creating monumental compositions. His distinctive style featured flinty landscapes and sculptural figures, reflecting his background in Roman archaeology. Mantegna's workshop was a key producer of prints in Venice during his time, showcasing his leadership in the art world. His work continues to be celebrated for its technical prowess and enduring impact on the development of Western art.

Domenico Ghirlandaio was an influential Italian Renaissance painter based in Florence. He led a successful workshop with talented artists, including his brothers and son. Ghirlandaio's skill was in blending contemporary life and portraits with religious themes, which earned him widespread acclaim and numerous prestigious commissions. Notably, he mentored apprentices like Michelangelo, contributing to the artistic legacy of the Florentine Renaissance. Ghirlandaio's ability to capture the essence of his time in his artwork solidified his reputation as a leading figure in the art world.

Sofonisba Anguissola was an Italian Renaissance painter who broke gender barriers by becoming a successful artist in a male-dominated field. She received a comprehensive education in the fine arts and gained recognition for her talent early on, leading to opportunities to paint for royalty and nobility. Anguissola's work included portraits of herself, her family, and formal state portraits for the Spanish court. Her influence on subsequent artists paved the way for more women to pursue careers in the art world.

Luca Signorelli was an Italian Renaissance painter known for his skill as a draftsman and innovative use of foreshortening. His masterpiece, the massive frescos of the Last Judgment in Orvieto Cathedral, exemplify his talent. Signorelli worked in Florence, Siena, and Rome before settling in Cortona, where he fulfilled commissions across the region. Trained by Piero della Francesca, his Quattrocento style fell out of favor in the new century. A major exhibition in 2023 in Cortona will commemorate the 500th anniversary of his death.

Francesco Melzi, an Italian painter, was a pupil and closest professional assistant of Leonardo da Vinci. Following da Vinci's death, Melzi became the literary executor of all his papers, compiling them into manuscripts like Trattato della Pittura [Treatise on Painting] and Codex Urbinas. Melzi's professional life was centered around his relationship with da Vinci, where he absorbed knowledge, skills, and techniques from the master and played a key role in preserving and disseminating da Vinci's work and teachings to future generations.

Vittore Carpaccio was an Italian painter of the Venetian school who studied under Gentile Bellini. Influenced by Antonello da Messina and Early Netherlandish painting, Carpaccio's works displayed religious themes and cross-cultural elements. His command of perspective, attention to architectural detail, themes of death, and bold use of color set him apart from other Italian Renaissance artists. He created altarpieces and large pictorial cycles, with notable works like The Legend of Saint Ursula. Despite being perceived as conservative by 1510, his urban scenes captured Venice's power and wealth.

Giovanni Battista Moroni was a prominent Italian painter of the Mannerism movement. Also known as Giambattista Moroni, he excelled in creating elegantly realistic portraits of the local nobility and clergy. His works are highly regarded for their attention to detail and lifelike representation of his subjects. Moroni is recognized as one of the leading portrait painters of the Cinquecento period. Throughout his professional life, he was celebrated for his ability to capture the personality and character of his sitters with remarkable skill and precision.

Sebastiano del Piombo was an Italian painter known for combining the color palette of the Venetian school with the monumental forms of the Roman school. Moving from Venice to Rome in 1511, he made significant contributions to both artistic communities. As a close friend of Michelangelo, Sebastiano painted portraits and religious scenes in oils, avoiding large fresco projects. Despite limited productivity due to his duties as piombatore, his influence on other artists was constrained by the lack of notable pupils and widespread dissemination of his works.

Filippino Lippi was an Italian Renaissance painter known for his work in Florence, Rome, Milan, and Bologna. His artistic career spanned the transition from the Early Renaissance to the High Renaissance. Lippi was skilled in working with oils, tempera, and fresco, and he primarily focused on religious subjects in his paintings. In addition to religious themes, he also created portraits and scenes from classical mythology. Lippi's professional life was marked by a diverse body of work that showcased his talent and versatility as a painter.

Filarete was an architect and writer who completed a substantial book on architecture around 1464, known as the Libro architettonico. His work, although not referred to as a "Treatise" by him, provided detailed technical aspects of architecture and criticized the Gothic style prevalent in Northern Italy. Filarete's most famous contribution was his plan for the ideal city of Sforzinda, characterized by a unique layout with star-shaped design, radial avenues, and canal system. His innovative city planning ideas influenced future architects and city planners during the Renaissance period and beyond.

Carlo Crivelli was an Italian Renaissance painter known for his conservative Late Gothic decorative style. He began his career in the Veneto region, where he was influenced by artists such as the Vivarini, Squarcione, and Mantegna. By 1458, he had left the Veneto and spent the majority of his career in the March of Ancona. During this time, Crivelli developed a distinctive personal style that set him apart from his Venetian contemporary, Giovanni Bellini.

Il Pordenone, born Giovanni Antonio de' Sacchis, was an Italian Mannerist painter associated with the Venetian school. Known for his speed and deliberate coarseness in execution, he painted in various cities in northern Italy. Despite lacking formal anatomical training, he drew inspiration from High Renaissance masterpieces in Rome. Pordenone was commissioned for exterior building paintings alongside artists like Polidoro da Caravaggio. His work, including fresco cycles like those at Cremona Cathedral and Scuola Grande della Carità in Venice, showcased a violent intensity akin to Goya. His influence extended to artists like Titian and Tintoretto.

Bernardino Luini was a north Italian painter associated with Leonardo da Vinci during the High Renaissance. He was known for his graceful female figures with elongated eyes, a style described as Luinesque. Luini and Giovanni Antonio Boltraffio were believed to have worked directly with Leonardo, with Luini absorbing much from the master. Consequently, some of Luini's works were initially attributed to Leonardo. Luini's artistry was characterized by his ability to blend elements of Leonardo's style with his own interpretations, creating a unique and recognizable aesthetic.

Cennino Cennini, a Florentine painter during the late Gothic period, is chiefly remembered for authoring Il libro dell’arte. Following the tradition of Giotto di Bondone, Cennini's professional life was dedicated to sharing insights into the methods, techniques, and attitudes of medieval artists. His book serves as a guide, shedding light on the world of apprentice painters. Cennini's work provides a valuable resource for understanding the practices and artistic culture of his time, showcasing his contribution to the art world.

Giorgione was an Italian painter of the Venetian school during the High Renaissance. Known for his elusive poetic quality, he left behind a legacy of about six surviving paintings. His work remains shrouded in mystery, adding to his enigmatic reputation in European art. Alongside Titian, he played a key role in founding the Venetian school of Italian Renaissance painting, known for its distinctive use of color and mood. This school stood in contrast to the Florentine painting style, emphasizing more on color rather than a linear disegno-led approach.

Andrea del Sarto was a prominent Italian painter known for his exceptional skills in fresco decoration, altar-piece painting, portraiture, drawing, and use of color. He thrived during the High Renaissance and early Mannerism periods, earning a reputation as an artist senza errori, meaning "without errors." Despite his high regard in his lifetime, his legacy was overshadowed by the fame of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael after his passing. His professional life was marked by artistic excellence and a diverse range of talents in various mediums.

Dosso Dossi was an Italian Renaissance painter associated with the School of Ferrara. Influenced by Venetian painters such as Giorgione and early Titian, he served as court artist to the Este Dukes of Ferrara and Modena. Known for his mythological subjects, allegories, and dream-like atmospheres, Dossi often collaborated with his brother Battista Dossi, who had worked under Raphael. His works featured striking disharmonies in color and portrayed unconventional poses and expressions, setting him apart as a unique artist in the courtly setting.

Gentile Bellini was an Italian painter of the school of Venice, known for his prominence in the art world over his brother. He served as the official portrait artist for the Doges of Venice, creating large-scale works for prestigious Venetian institutions. Bellini's career took an Eastern turn when he was commissioned by the Ottoman Sultan Mehmed II, leading to a significant influence on Orientalist painting in the West. His portrait of the Sultan gained widespread acclaim and was widely reproduced across Europe.

Giulio Romano, an Italian painter and architect, was a pupil of Raphael and a key figure in defining the sixteenth-century style known as Mannerism. Known for his stylistic deviations from High Renaissance classicism, his drawings were highly valued by collectors. His works were influential in spreading Italian style throughout Europe, with contemporary prints of his drawings engraved by Marcantonio Raimondi making a significant contribution to this dissemination. Giulio Romano's professional career was marked by innovation and a departure from traditional artistic norms.

Andrea Solari was an Italian Renaissance painter associated with the Milanese school. Initially known as Andre del Gobbo and later confused with another painter named Andrea del Bartolo, Solari's artworks can be found in prestigious locations such as Venice, Milan, The Louvre, and the Château de Gaillon in Normandy, France. One of his most famous works is the Madonna with the Green Cushion, which is on display in the Louvre. Solari's professional life was characterized by his contributions to the art world through his unique style and notable paintings.

Federico Barocci, originally known as Federico Fiori and nicknamed Il Baroccio, was an Italian Renaissance painter and printmaker. His work was highly esteemed and influential, foreshadowing the Baroque style of artists like Rubens. Barocci is regarded as the greatest and most individual painter of his time in central Italy. His professional life was marked by innovative techniques and a unique artistic vision, contributing significantly to the development of Renaissance art and influencing later Baroque painters.

Giovanni Antonio Boltraffio was a Milanese painter influenced by Leonardo da Vinci, known for his portraits and religious paintings. His major works include the Resurrection painted with Marco d'Oggiono, Madonna and Child in Museo Poldi Pezzoli, and Pala Casio for the Church of the Misericordia. Boltraffio's style reflects Leonardesque elements such as profile portraits and Madonna and Child renderings, although lacking Leonardo's sfumato technique. He found patrons in the Casio family in Bologna and is recognized for his skillful artistry in capturing detailed expressions and compositions.

Piero di Cosimo was an Italian Renaissance painter known for his unique blend of Early Renaissance style and whimsical treatment of subjects. He gained fame for his mythological and allegorical paintings in the late Quattrocento before transitioning to religious themes under Savonarola's influence. Piero's works maintained a straightforward realism with a touch of eccentricity, creating a distinctive mood. He trained under Cosimo Rosselli, was influenced by Early Netherlandish painting, and excelled in designing temporary decorations for festivals. His secular works often featured intricate landscapes and were popular for decorative purposes.

Pisanello was a prominent painter of the early Italian Renaissance, acclaimed by poets and humanists of his time. Known for his exquisite frescoes, elegant portraits, easel pictures, and brilliant drawings, he pioneered commemorative portrait medallions. He served prestigious clients like the Doge of Venice, the Pope, and various Italian courts. Highly regarded by the Gonzaga and Este families, Pisanello's works were often misattributed to other artists. While many of his paintings are lost, his drawings and medals have survived, showcasing his exceptional talent and influence in the art world.

Antonello da Messina was an influential Italian painter from Messina, active during the Italian Early Renaissance period. His work displayed strong influences from Early Netherlandish painting, despite no evidence of travel beyond Italy. While Giorgio Vasari wrongly credited him with introducing oil painting to Italy, Antonello's art had a significant impact on northern Italian painters, particularly in Venice. His professional legacy lies in the innovative techniques and styles he employed, contributing to the development of Renaissance art in Italy.

Francesco del Cossa was an Italian Renaissance painter associated with the School of Ferrara. He later worked in Bologna and is renowned for his frescoes, particularly for collaborating with Cosimo Tura on a cycle of the months at the Palazzo Schifanoia for the Este family. His body of work predominantly features religious subjects, with occasional portraits and drawings attributed to him. Cossa also showcased his talent in design through stained glass creations, showcasing a diverse artistic skill set throughout his professional career.

Andrea del Castagno was an influential Italian Renaissance painter known for his works in Florence. He was greatly influenced by Masaccio and Giotto di Bondone, which is evident in his frescoes at Sant'Apollonia and the equestrian monument of Niccolò da Tolentino in Florence Cathedral. Castagno's style influenced the Ferrarese school of painters, including Cosmè Tura, Francesco del Cossa, and Ercole de' Roberti. Through his innovative techniques and artistic vision, Castagno left a lasting impact on the art world of his time.

Benozzo Gozzoli was an Italian Renaissance painter known for his vibrant murals in the Magi Chapel of the Palazzo Medici-Riccardi. He was a pupil of Fra Angelico and showcased a pronounced International Gothic influence in his work. Gozzoli's fresco cycle in the chapel displayed a new Renaissance interest in nature through realistic landscapes and vivid human portraits. He was considered one of the most prolific fresco painters of his generation, active primarily in Tuscany but also working in Umbria and Rome.

Fede Galizia, also known as Galizia, was an Italian painter known for her still-lifes, portraits, and religious artworks. She was one of the earliest practitioners of still-life painting in European art, particularly renowned for her depictions of fruit. Despite not achieving the same level of fame as some of her female contemporaries due to a lack of access to aristocratic circles or political patronage, she left a lasting impact on the art world with her unique style and contributions to the genre of still-life painting.

Lorenzo Lotto was an Italian Renaissance painter known for his work in altarpieces, religious subjects, and portraits. He was traditionally associated with the Venetian school but worked in various north Italian cities throughout his career. Lotto's artistic style evolved from the High Renaissance to a transitional stage between High Renaissance and Mannerism. His paintings often featured eccentric posings and distortions, reflecting influences from both Florentine and Roman Mannerists. Lotto's professional life was characterized by a commitment to religious and portrait painting with a unique artistic expression.

Jacopo Bellini was a prominent figure in the development of the Renaissance style of painting in Venice and northern Italy. Alongside his famous sons Gentile and Giovanni Bellini, and son-in-law Andrea Mantegna, he made significant contributions to the art world. While only a few of his paintings have survived, his surviving sketch-books reveal his keen interest in landscape and architectural design. Bellini skillfully integrated linear perspective into the vibrant colors and decorative patterns characteristic of Venetian painting, leaving a lasting impact on the artistic legacy of the region.

Justus van Gent, an Early Netherlandish painter, likely from Ghent, began his career in Flanders before relocating to Italy. In Italy, he worked for Federico da Montefeltro, duke of Urbino, and was known by various names such as Giusto da Guanto. He gained recognition for his religious compositions created in the early Netherlandish style and a series of portraits of notable figures, displaying the influence of early Italian Renaissance painting. His professional life was marked by a blend of Netherlandish tradition and Italian Renaissance techniques.

Giovanni Battista Cima, known as Cima da Conegliano, was an Italian Renaissance painter associated with the Venetian school. Influenced by Antonello da Messina, Cima's style emphasized landscape backgrounds and serene atmospheres. He mainly focused on religious and mythological subjects, often painting for homes. Cima's works showcase his mastery in depicting popular themes with subtle variations, particularly seen in his numerous renditions of the Madonna and Child. His professional life was defined by a consistent style, characterized by small-scale, exquisite compositions that captivated viewers with their tranquility.

Franciabigio was an Italian painter known for his work during the Florentine Renaissance. He was highly regarded for his artistic skills and was a prominent figure in the art scene of his time. Franciabigio's works often showcased a combination of classical influences and innovative techniques, earning him recognition and praise from his contemporaries. His paintings were characterized by a harmonious blend of colors, meticulous attention to detail, and a strong sense of composition. Franciabigio's legacy continues to be celebrated for his contributions to Renaissance art.

Domenico di Pace Beccafumi was an Italian Renaissance-Mannerist painter known for his work in Siena. Considered a significant figure in the Sienese school of painting, he was active during the late 15th and early 16th centuries. Beccafumi's artistic style combined elements of both the Renaissance and Mannerist movements, showcasing a unique blend of classical harmony and innovative expression. His body of work reflects a deep understanding of perspective, composition, and color, making him a respected and influential artist of his time.

Bartolomeo Montagna was an Italian Renaissance painter known for his works in Vicenza, Venice, Verona, and Padua. His paintings, particularly Madonnas, are characterized by soft figures and eccentric marble architecture. He is believed to have been influenced by Giovanni Bellini and possibly worked in Bellini's workshop. His son and pupil, Benedetto Montagna, was a skilled engraver. While Vasari mentioned him as a student of Andrea Mantegna, this claim is debated among art historians. Montagna's professional life exemplifies his contributions to Renaissance art through his unique style and artistic endeavors.

Giovanni Maria Falconetto was an Italian architect and painter known for his work during the early 16th century in Verona and Padua. He is recognized for designing one of the first high Renaissance buildings in Padua, the Loggia Cornaro, characterized by its Roman doric arcade style. Alongside his brother, Giovanni Antonio Falconetto, he established himself as a prominent figure in the artistic scene of the region. Falconetto's contributions to architecture and painting have left a lasting impact on the cultural heritage of Italy.

Vincenzo Foppa was a renowned Italian Renaissance painter known for his influential works during his time. As the preeminent leader of the Early Lombard School, he worked extensively for the Sforza family, Dukes of Milan, in Pavia, and for various patrons in Lombardy and Liguria. His artistry and skill were highly esteemed, although only a few of his works have survived. Foppa's career flourished in different regions of Italy, and he later returned to his hometown of Brescia where he continued to create notable works.

Bartolomeo Vivarini was an Italian Renaissance painter active from 1450 to 1499. He was known for his contributions to the Venetian school of painting and his collaboration with his brother, Antonio. Bartolomeo's style combined elements of Gothic and Renaissance art, showcasing his skill in creating detailed religious works and altarpieces. Throughout his career, he received commissions from various churches and patrons, solidifying his reputation as a talented and influential artist during the late 15th century in Italy.

Bernardo Daddi was an influential Italian Renaissance painter known for his realistic representations of reality. As a leading painter in Florence during his time, he played a key role in breaking away from Gothic conventions and contributing to the revolutionary art of the Renaissance. Daddi was particularly successful in creating small-scale works and was instrumental in developing the portable altarpiece format, which became widely popular. His contributions to art and his innovative compositions solidified his reputation as a significant figure in the art world of his generation.

Piero del Pollaiuolo was an Italian Renaissance painter known for his collaboration with his brother Antonio. Their work demonstrated classical influences and a keen interest in human anatomy. Giorgio Vasari highlighted Antonio's drawing skills, leading to a traditional emphasis on Antonio's contributions to their joint works. However, modern scholars have begun to recognize Piero's significant role in their paintings, attributing many works to him. Piero's professional career saw a shift in recognition towards his artistic talents and influence on the art world.

Vincenzo Carducci, also known as Vincencio or Vicente Carducho, was an Italian painter renowned for his work in Spain during the 16th and 17th centuries. He established himself as a prominent artist in the Spanish court, creating religious and historical paintings that showcased his skill and talent. Carducci's career flourished in Spain, where he gained recognition for his mastery of composition, color, and technique. His legacy as an influential painter in the Spanish art scene endures through his significant contributions to the Baroque style.

Girolamo Savoldo was a Renaissance painter known for his mastery of nocturnal effects and use of light in his works. He was influenced by Flemish painting, particularly the nightmarish monsters of Hieronymus Bosch. Savoldo's paintings often featured single figures in quiet settings, showcasing his preference for clarity and lyricism. His oeuvre, comprising about 40 paintings and ten drawings, demonstrates a blend of Venetian coloration and Lombard modeling. Savoldo's work was rediscovered in the mid-nineteenth century, elevating him to the ranks of major High Renaissance masters.

Stefano di Giovanni di Consolo, known as il Sassetta, was a prominent Tuscan painter of the Renaissance era and a notable figure within the Sienese School. He revolutionized the Sienese tradition by incorporating elements from the Gothic decorative style and the realism pioneered by Florentine artists like Masaccio. Through his innovative approach, Sassetta left a lasting impact on the art world by merging traditional techniques with contemporary influences, establishing himself as a key artist of his time known for his unique artistic vision and contributions to the evolution of Renaissance art.

Lorenzo Costa was an Italian Renaissance painter known for his work in Ferrara and Bologna. Influenced by the Bolognese School, he possibly trained under Cosimo Tura. His notable works include the Bentivoglio Altarpiece and frescoes in San Giacomo Maggiore. Costa's close relationship with Francesco Francia and his move to Mantua to serve as court painter for Marquis Francesco Gonzaga and Isabella d'Este further solidified his reputation. His mythological paintings and collaborations with other artists highlight his significant contributions to the artistic scene of his time.

Giovanni Francesco Caroto was an Italian Renaissance painter primarily based in Verona. Initially influenced by Liberale da Verona, he later incorporated elements from artists such as Leonardo da Vinci and Raphael. Caroto's distinctive style featured rich Veronese colors and individuality. He trained notable Mannerist painter Paolo Veronese and produced works found in various locations across Italy and Europe. His art can be seen in renowned institutions like the Uffizi and Pitti in Florence, as well as in Dresden, Prague, and Budapest.

Pirro Ligorio was a versatile Renaissance figure known for his expertise in architecture, painting, antiquarianism, and garden design. He held prestigious positions such as Vatican's Papal Architect, where he worked for Popes Paul IV and Pius IV. Ligorio designed the renowned fountains at Villa d’Este in Tivoli for Cardinal Ippolito II d’Este and served as the Ducal Antiquary in Ferrara. His professional life was marked by a deep passion for classical Roman antiquity, evident in his influential works and designs.

Cosimo Tura, also known as Il Cosmè, was an Italian early-Renaissance painter and a key figure in the School of Ferrara. His professional life was marked by significant contributions to the Renaissance movement in Ferrara. Tura's distinctive style blended influences from Northern European art with Italian Renaissance techniques, creating powerful and expressive works. He was known for his skill in creating intricate details, vibrant colors, and dramatic compositions. Tura's legacy includes a body of work that continues to be celebrated for its originality and influence on subsequent artists.

Romanino, born Girolamo Romani, was an Italian High Renaissance painter renowned for his work in the Veneto and Lombardy regions near Brescia. Throughout his long career, he developed various artistic styles, showcasing versatility and innovation. His paintings reflected influences from the Renaissance period, characterized by intricate details, vibrant colors, and emotional expressiveness. Romanino's contributions to the art world left a lasting impact, solidifying his reputation as a talented and influential figure in the Italian art scene of his time.

Liberale da Verona was an esteemed Italian painter during the Renaissance era, primarily working in Verona. He was known for his mastery of perspective and intricate detail in his artworks. Liberale's professional life was marked by a prolific output of religious and mythological paintings, showcasing a keen attention to anatomical accuracy and a harmonious use of color. His works often depicted scenes from classical mythology and biblical narratives, reflecting his deep understanding of art history and his commitment to refining his craft.