Altichiero da Zevio

Altichiero da Zevio , c.1330-c.1395, Italian painter, follower of Giotto. He worked in Verona and then Padua. His frescoes in the churches of Sant' Antonio and San Giorgio in Padua are notable as early examples of the use of classical proportions in the treatment of figures and space.

Altichiero (active 1370s and 1380s). Italian painter. He probably came from Zevio near Verona and is sometimes considered to be the founder of the Veronese School, although the only surviving example of his work in that city is a fresco in S. Anastasia. Most of his surviving work is in Padua, where he had a hand in fresco cycles in the basilica of St Anthony (1372–9) and in the oratory of St George (1377–84), in the latter of which he collaborated with an artist called Avanzo, who is otherwise unknown and whose contribution to the work is uncertain. A document of 1393 implies that Altichiero had died by then. The solidity and solemnity of his figures clearly reveal his debt to Giotto's frescos in the Arena Chapel of Padua. But his pageant-like scenes with their elaborate architectural views express the taste of the late 14th century for Gothic intricacy, while his naturalism in the study of plants and animals formed the point of departure for a new style that is reflected in Pisanello.

Altichiero (active 1370s and 1380s). Italian painter. He probably came from Zevio near Verona and is sometimes considered to be the founder of the Veronese School, although the only surviving example of his work in that town is a fresco in S. Anastasia. Most of his surviving work is in Padua, where he had a hand in fresco cycles in the Basilica of St Anthony (1372–9) and in the Oratory of St George (1377–84), in the latter of which he collaborated with an artist called Avanzo, who is otherwise unknown and whose contribution to the work is uncertain. A document of 1393 implies that he had died by then. The solidity and solemnity of Altichiero's figures clearly reveal his debt to Giotto's frescos in the Arena Chapel of Padua. But his pageant-like scenes with their elaborate architectural views express the taste of the late 14th century for Gothic intricacy, while his naturalism in the study of plants and animals formed the point of departure for a new style that is reflected in Pisanello.