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Dosso Dossi (Giovanni Luteri detto Dosso Dossi, c. 1490 - 1542); Giove, Mercurio e la Virtù (1523-24)

Pontormo (Jacopo Carrucci, 1494 Pontorme - 1557 Firenze); Niccolò Ardighelli, 1518

Tintoretto (Jacopo Robusti; Venezia 1518 - 1594), La conquista di Zara (the conquest of Zara), detail plus comprehensive view (black and white), 1582-1587, oil on canvas, 640 cm x 1060 cm; Palazzo Ducale, Venezia

Federico Barocci (Urbino, c. 1535 - 1612), L'ultima cena (The Last Supper), 1590-99, oil on canvas

Niccolò Dell'Abate (Modena c. 1509 - Fontainebleau (?), 1571), Ritratto di un cavaliere dell'Ordine di Santiago (Portrait of a knight of the Order of Santiago), 1548-1552; oil on canvas; Staatliche Museen, Berlin

Sofonisba Anguissola (Cremona c. 1531 - Palermo 1626); Portrait of the Infanta Isabella Clara Eugenia, c. 1578; Prado, Madrid

Lavinia Fontana (Bologna 1552 - Roma 1614); Bianca degli Utili Maselli and Six of Her Children, 1603-5 by arthistory390 on Flickr.

Lorenzo Lotto (Venezia c. 1480 - Loreto 1556); L'elemosina di Sant'Antonino (The Alms of St. Anthony), 1540-42; oil on canvas, 235 x 332 cm; Basilica dei Santi Giovanni e Paolo, Venezia

Tiziano Vecellio (Pieve di Cadore 1488-90 - Venezia 1576); Il supplizio di Marsia (The flaying of Marsyas), c. 1570; oil on canvas, 212 x 207 cm; National Museum, Kroměříž, Czech Republic

Rosso Fiorentino (Giovanni Battista di Iacopo called il Rosso Fiorentino; Firenze 1495 - Fountainebleau 1540); Assunzione della Vergine (Assumption of the Virgin), 1517; fresco, 385 x 337 cm; Chiostrino dei Voti, Firenze

Paolo Veronese (Paolo Caliari called Veronese; 1528 Verona - 1588 Venezia); Pietà, 1581; oil on canvas, 111 x 147 cm; Hermitage Museum, Saint Petersburg

Paolo Veronese (Paolo Caliari called Veronese; 1528 Verona - 1588 Venezia); La cena nella casa di Levi (the feast in the house of Levi), 1573; oil on canvas, 1280 x 555 cm; Gallerie dell'Accademia, Venezia

Alessandro Allori (Firenze, 1535 - 1607); The Deposition, c. 1660; oil on copper, 54 x 70 cm; Museo Nacional del Prado, Madrid

Annibale Carracci (Bologna 1560 - Roma 1609); Elemosina di San Rocco (Saint Roch distributing Alms), 1595; oil on canvas, 477 x 331 cm; Gemäldegalerie Alte Meister; Dresden

Tintoretto (Jacopo Robusti or Jacopo Comin, Venezia 1518 - 1594), L'assedio di Asola (The Siege of Asola), 1544-45; oil on canvas, 467.5 x 197 cm; private collection, formerly in the collections of the Muzeum Narodowe, Poznań

Santi di Tito (Borgo San Sepolcro 1536 - Firenze 1603); La visione di San Tommaso d'Aquino (the vision of St. Thomas Aquinas), 1593; oil on table, 233 x 362 cm; Chiesa di San Marco, Firenze

Cavalier d’Arpino (Giuseppe Cesari, 1568-1640), Perseus and Andromeda, 1592; oil on slate, 70x55 cm; Kunsthistorisches Museum, Vienna

Giulio Romano (Italian, 1492 or 1499-1546) or Raffaellino (Raffaello del Colle, ca. 1495-1566); Madonna and Child with Saint John the Baptist, 1522-24; oil on panel, 125 x 85 cm; the Walters Art Museum, Baltimore“The painting, previously attributed

Francesco Salviati (Italian, 1510-1565), Storie di Furio Camillo (Stories of Furius Camillus, 1543-45): Camillo sconfigge i Galli nei pressi di Ardea (Camillus defeats the Gauls near the city of Ardea). Fresco, 470 x 255 cm; Sala dell’Udienza of the

Alessandro Allori (Italian, 1535-1607), The Descent from the Cross, ca. 1550; oil on copperplate, 70 x 54 cm; Museo del Prado, Madrid

Bronzino (Italian, 1503 - 1572), Portrait of a Man holding a Statuette, between c. 1545 - 1555. Oil on panel transferred on canvas, 99 x 79 cm; Louvre Museum, Paris

Agostino Carracci (Italian, 1557-1602), The Last Supper, 1593-94. Oil on canvas, 172 x 237 cm; Museo del Prado

Moretto da Brescia (Alessandro Bonvicino called il Moretto, Italian, c.1498-1554), Portrait of a Young Man - Fortunato Martinengo Cesaresco? -, c. 1540-1545. Oil on canvas, 114 x 94.5 cm; National Gallery, London

Parmigianino (Italian, 1503-1540), Santa Barbara, c. 1522. Oil on panel, 48 x 39 cm. Museo del Prado, Madrid

“Tooth Drawer” This painting is by Italian artist Luiciano Nezzo (b,1856). Three interesting bits. The different skin tones of the patient and the dentist. The manner she is grasping his wrist and the “extraction key” hidden behind his back.

ganymedesrocks: necspenecmetu: Sir Peter Paul Rubens, The Rape of Hippodameia, c. 1637-8 I always am in awe on observing, throughout his career, how Peter-Paul Rubens could switch between his erudite ‘Italianate mannerisms’ to his rougher to abrupt

ganymedesrocks: wasbella102:By Agnolo Bronzino Agnolo Bronzino, whose real name was Agnolo di Cosimo (1503-1572), known as Il Bronzino, was a Florentine Mannerist painter; a stand-out artist to what amounted to the second-wave of Italian Mannerism,

ganymedesrocks: Accademia di nudo virile, an Italian Academy with late 18th to early 19th century French School Neo-Classicists Mannerisms, Lazio, Rome, National Gallery of Modern and Contemporary Art. The work isn’t without making associations with

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