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External links
Works by Lodovico Mazzolino at National Gallery in London
Francis P. Smyth and John P. O'Neill, ed. (1986). The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries. Washington: National Gallery of Art. pp. 144–146.
Freedberg, Sydney J. (1993). Painting in Italy, 1500-1600. Penguin Books. pp. 404–405.
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Lodovico Mazzolini". Catholic Encyclopedia. New York: Robert Appleton Company.
Luigi Garzi (1638–1721) was an Italian painter of the Baroque period whose style was strongly influenced by the work of the Bolognese painter Guido Reni.
Biography
He was born in Pistoia. He started learning from a poorly known landscape painter, Salomon Boccali. At age 15, he moved to Rome, where he was one of the main pupils of Andrea Sacchi. He is also often referred to as Ludovico Garzi. In 1680 Garzi was appointed Regent of the Congregazione dei Virtuosi al Pantheon, the papal society of painters. Garzi joined Rome's guild of painters, The Accademia di San Luca, in 1670 and became a director in 1682.
He painted a Triumph of St Catherine & Saints for the church of Santa Caterina a Magnanapoli in Rome. He painted a St Silvestro shows Constantine portraits of Saints Peter and Paul for Santa Croce in Gerusalemme. In the early 1680s, he contributed to the frescoes on the vault of San Carlo al Corso, where his works included an Allegory of Faith. He also completed a fresco depicting the Glory of the Eternal Father (1686) for the dome of the Cybo Chapel in the church of Santa Maria del Popolo. He was one of the painters who contributed to the series of paintings depicting events from classical mythology displayed in the Palazzo Buonaccorsi in Macerata; his contribution is a Venus in the Forge of Vulcan. He also painted for San Silvestro in Capite and the Chiesa delle Santissima Stimmate di San Francesco. He contributed a canvas to the Cagli Cathedral.
In Naples, he painted the ceiling and some chapels for Santa Caterina del Formello. He died in Rome.
References
Elisa Debenedetti, Garzi, Luigi, in: Allgemeines Künstlerlexikon, vol. 59, de Gruyter, Berlin 2006, p. 496.
Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. p. 70.
[1] Getty Museum biography]
Lione, Pascoli (1736). Vite de pittori, scultori, ed architetti moderni. Antonio de' Rossi, Strada del Seminario Romano, Rome. pp. 235–245.
== External links ==
Luigi Sabatelli (21 February 1772, Florence – 29 January 1850, Milan) was an Italian painter of the Neoclassic period; active in Milan, Rome, and Florence.
Biography
He began his studies at the Accademia di Belle Arti di Firenze, where he was taught the Neoclassical style, then completed his studies in Rome. In 1801, he was named a Court Painter for Maria Luisa the Queen of Etruria.
In 1803, with the reorganization of the Brera Academy of Fine Arts of Milan, Sabatelli was named professor of painting, replacing Giulio Traballesi, and held the post until his death.
His first important work in oils was his Meeting of David and Abigail, which now hangs opposite Judith, by Pietro Benvenuti, in the Lady Chapel of Arezzo Cathedral. His reputation, however, rests largely on the frescoes in the "Hall of the Iliad", part of the Palatine Gallery at the Pitti Palace, created from 1822 to 1825 for his patron Maria Luisa, who was then the Duchess of Lucca. They consist of eight lunettes and a large circular medallion, illustrating scenes from the Homeric poems. It was necessary for him to take a leave of absence from the Academy to complete them.
As well as paintings, he produced engravings. Notably, series depicting the Stations of the Cross and the Apocalypse. His depiction of "The Plague of Florence", a scene from the Decameron of Boccaccio, was also well known.
Four of his ten children became painters and art teachers: Francesco (1803-1830), Giuseppe (1813-1843), Luigi Maria (1818-1899), and Gaetano (1820-1893). Among his pupils were Carlo Arienti, Giuseppe Sogni, Giuseppe Penuti, Michelangelo Fumagalli, Giulio Cesare Arrivabene and Alessandro Durini.
He was a Knight in the Order of Saint Joseph of the Grand Duchy of Tuscany, and was awarded the Great Gold Medal of the Kingdom of Lombardy–Venetia. A street in Milan has been named after him.
References
Rollins Willard, Ashton (1900). History of Modern Italian Art. London: Longmans, Green & co. pp. 282.
Further reading
Piero Bargellini, "Luigi Sabatelli generoso maestro di vita e d'arte", In: Caffè Michelangiolo, Firenze, Vallecchi Editore, 1944, pp.57-93
Gaetano Sabatelli, Cenni Biografici sul av. Professore Luigi Sabatelli, Milano Stabilimento Tipografico Enrico Reggiani, 1900
External links
Media related to Luigi Sabatelli at Wikimedia Commons
Marcantonio Franceschini (Italian pronunciation: [markanˈtɔːnjo frantʃeˈskiːni]; 1648 – 24 December 1729) was an Italian painter of the Baroque period, active mostly in his native Bologna. He was the father and teacher of Giacomo Franceschini.
Biography
He was a pupil of Carlo Cignani, with whom he worked on the frescoes in the Palazzo del Giardino in Parma (1678–81). He worked closely for many years with his brother-in-law, Luigi Quaini, who also was the cousin of Cignani.
Franceschini had a long career painting canvases on religious and mythological subjects for patrons throughout Europe. Franceschini decorated some ceilings in the Palazzo Ranuzzi (1680) and the Palazzo Marescotti Brazzetti (1682) in Bologna. He helped paint in the tribune at church of San Bartolomeo Porta Ravegnana (1690). Franceschini frescoed the ceiling of the Sala d'Onore ("Hall of Honor") in the Ducal Palace of Modena, commissioned in 1696 for the marriage of Rinaldo d'Este to Princess Charlotte Felicity of Brunswick. He painted the altarpiece in the Cathedral of Finale Ligure and the canvas of San Carlo in the church of the same name in Modena.
His massive program of historical and mythological scenes in the Sala del Maggior Consiglio of the Palazzo Ducale of Genoa (1701–1704) were destroyed by a fire in 1777. These had been completed with the help of Tommaso Aldrovandini, Quaini, and Antonio Meloni. In addition, his decorations of the pendentives and lunettes of the Piacenza Cathedral were removed in the late 19th century. He decorated the church of Corpus Domini (1688–1694) in Bologna.
He painted 26 canvases of the Seductions and Loves of the Diana and Venus (1692-1700) for the Viennese palace (now Liechtenstein Museum) of Prince Johann Adam I of Liechtenstein. He also served as a buyer for the art-patron Prince.
In Genoa, he also painted for the palaces Spinola and the Palazzo Pallavicini (now Podestà) (1715) of Genoa. The latter had five large canvases of the history of Diana.
Canvases depicting The Four Seasons (1716) are now found in the Pinacoteca di Bologna. There are two canvases of the Story of Rachel in the Pinacoteca B.P.E.R.
He painted the "cartoons" used to make the mosaic decoration of the Cappella del Coro in St. Peter's Basilica. Knighted by Pope Clement XI, he was founding a member and a subsequent director of the Clementine Academy in Bologna.
His paintings have an academic and idealist strain, even for a member of the Bolognese School of Painting. The sparse figures are severely arranged and often porcelain in features. He worked with a younger colleague, Donato Creti. His style is often classified as Barochetto, a mixture of baroque and rococo; but it also could be said the neoclassical influence of French artists was beginning to overtake the baroque tradition. Wittkower describes him as the "Bolognese Maratta".
Numerous painters worked and trained in his prolific studio. Among those who spent time as pupils, apprentices, or assistants were Tommaso Aldrovandini, Luca Antonio Bistoia, Giacomo Boni, Francesco Caccianiga, Ferdinando del Cairo, Antonio Cifrondi, Gaetano Frattini, Giacinto Garofalini, Carlo Cesare Giovannini, Ercole Graziani the elder, Girolamo Gatti, Pietro Gilardi, Giuseppe Marchesi (il Sansone), Michelangelo Monticelli, Giuseppe Pedretti, Pietro Francesco Prina, Pietro Antonio Avanizi, Antonio Rossi (painter), Gentile Zanardi, and his son Jacopo.
The Dulwich Picture Gallery (London), the Honolulu Museum of Art, the Kunsthistorisches Museum of Vienna, the Metropolitan Museum of Art, the Musei Civici of Macerata, the Museo Glauco Lombardi (Parma, Italy), the National Art Gallery of Bologna (Italy), Bojnice Castle (Slovakia) and the State Museums of Florence are among the public institutions holding paintings by Marcantonio Franceschini.
Gallery
Notes
References
Francis P. Smyth and John P. O'Neill (Editors in Chief) (1986). The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries. Washington: National Gallery of Art. pp. 450–453. {{cite book}}: |author= has generic name (help)
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books. p. 471.
Luigi, Lanzi (1847). Thomas Roscoe (ed.). The History of Painting in Italy; from period of the revival of the arts to the eighteenth century. London: Henry G. Bohn. pp. 158–160.
Miller, Dwight C. (1957). "Franceschini and the Palazzo Podestà, Genoa". The Burlington Magazine. Vol. 99, no. 652. pp. 230–235.
External links
Media related to Marcantonio Franceschini at Wikimedia Commons
Marco Basaiti (c. 1470–1530) was a Venetian painter of the Renaissance who worked mainly in Venice and was a contemporary of Giovanni Bellini and Cima da Conegliano. He has been referred to by several names including Marco Baxaiti, Marcus Basitus, and Marcus Baxiti. (Vasari believed that Marco Basarini and Marco Basaiti were two artists, but later information reveals that these two were in fact the same painter.) There is little documentation on Marco Basaiti besides his painting signatures and a guild's ledger of 1530 that records him as a painter of figures.
His works are mainly portraits and religious subjects. There is no known painting attributed to Marco Basaiti with a mythological theme. Although trained in the quattrocento style, Basaiti's career began right at the beginning of the cinquecento style which forced him to attempt to adapt his style to stay current.
Personal life, training, and influence
Marco Basaiti was born around 1470, in either Venice or Friuli. His family was of either of Albanian or possibly Greek origin, as Vasari reported. In either case this explains the variety of names Basaiti is known by because the Greek and Albanian communities, and other foreign communities, for the most part kept to themselves and do not often appear on Venetian records. A will dated 1526 may provide evidence of his family, but the connection between Basaiti and this will is debated. Due to this lack of documentation, not much is known about Basaiti's life, except what scholars can learn about the artist through his art.
There is evidence that Basaiti trained with Bartolomeo Vivarini as Basaiti's earlier pieces are thought to reflect Bartolomeo's style and composition. After Bartolomeo died in the late 1490s, it is thought that Basaiti began working with Alvise Vivarini, Bartolomeo's nephew. This is supported by the fact that when Alvise died in 1505, Basaiti was commissioned to finish the altar piece entitled St. Ambrose Enthroned with Saints that Alvise had left uncompleted. Typically only major assistants working in the studio would have been asked to do this type of work which suggests that Basaiti was closely connected to Alvise by this time. Additionally, Basaiti's work seems to be influenced stylistically by both Vivarinis, further implying the link between Basaiti and these two masters.
Basaiti was influenced by a variety of great artists that lived during this era. For example, he began to incorporate more extensive landscapes into his backgrounds, taking inspiration from Giovanni Bellini. In fact, some of Bellini’s older works were misattributed to Basaiti for a long period of time. Another likely influence for Basaiti’s more complex backgrounds is the work of Netherlandish painters. Specifically, it has been noted that after Albrecht Dürer’s stay in Venice, Basaiti’s style shifted somewhat towards more complex and dramatic landscapes with less of an emphasis on the figures in the painting. This style can be seen in the Lamentation over the Dead Christ and St. Jerome in the Wilderness. The latter is thought to be a copy of a painting by Cima da Conegliano which presents yet one more important artistic influence in Marco Basaiti’s life. For the most part Basaiti focused on religious themes rarely delving into mythological or historical topics. Despite this his style seems fairly contemporary with complex composition and correct proportions.
Early period (1495–1510)
More than half of Basaiti's known works come from this first period in his painting career. This period comes right after his training and is marked by a constantly changing style as Basaiti experiments with his art to find his own personal style. This era is marked by the Portrait of a Young Man (1495) which represents his first finished piece as an independent painter.
Stylistically there are strong influences from his two proposed mentors in the composition of his paintings, with Bartolomeo specifically influencing his figure design. Notable features of the Antonellian include strong geometric forms and sharp contrast in lighting. Furthermore, in accordance with the style of his proposed masters, Basaiti’s paintings often feature brightly colored clothing and cool skin tones. Indeed, Basaiti’s early works are very like some of Alvise’s established disciples such as Jacopo da Valenza which further confirms the link between Basaiti and Alvise.
Around 1500, the influence of the Antonellian school becomes less distinct. Basaiti’s backgrounds become more developed demonstrating the influence of Giovanni Bellini and Northern artists. This development can be seen in paintings such as in Portrait of a Young Man (1505), where, in contrast to his first Portrait of a Young Man (1495), the screen behind the figure has been completely removed and the landscape given more importance. In addition to developing a more complex landscape composition, Basaiti appears to become more concerned with spatial consistency after 1500.
This change to more expressive landscapes coincided with Albrecht Dürer's stay in Venice during 1505–1506. It has been suggested that the landscape style Basaiti adopted is more influenced by Netherlandish paintings than by Bellini.
As Basaiti continued to mix the styles of Alvise and Bellini his paintings become comparable to Cima da Conegliano. However, Basaiti arrived at this mix of styles after Cima and he was never able to exert the same influence.
Middle period (1510–1520)
This period represents the most cohesive time stylistically for Basaiti's paintings. It was a prosperous decade for Basaiti and included several large commissions such as the high altarpiece at Sant'Andrea della Certosa, the Call of the Sons of Zebedee. This piece in particular marked the beginning of his mature period and is considered by Vasari and many later critics to be one of his best pieces. Unlike the portraits which up until now had been his main artistic endeavors, the Calling of the Sons of Zebedee is a narrative painting which requires more complex composition, and features a detailed and expansive landscape. Although Basaiti tried to compose narrative paintings later on, none were as successful as this first one.
Another notable example of Basaiti’s work with narrative pieces is the Agony of Christ. This represents a large commission as the altarpiece of the Foscari in San Giobbe. This altarpiece is set up next similar pieces by Giovanni Bellini and the influence from Bellini in Basaiti's painting is obvious.
Later, during this period, Basaiti’s paintings became more focused and returned to one-figure paintings as intricacies of narrative paintings proved to be too difficult. As seen in the Resurrected Christ and the Blessed Redeemer, while many aspects of Basaiti’s former success remain, the painting features only one main figure.
Continuing his emphasis on the use of landscapes in paintings, backgrounds became more integrated into the overall painting but the influence of Bellini and of Netherlandish painters is still apparent. As Basaiti’s style developed, the light in his pictures became softer and the components of the painting blended more fluidly. This gradual shift towards softer lines and an emphasis on natural lighting was the popular style developing during this era. The quattrocento style in which Basaiti was trained was declining in popularity, and his attempts to incorporate some of the new techniques can be seen particularly in his later works.
Late period ( 1520–1530)
This was Basaiti's last period and no paintings have been dated after 1530. Basaiti appears on a ledger for a painters guild in 1530 but there is no known mention of him after this ledger and he is presumed to have died in the early years of that decade. According to current estimations, this would have made him 60 around the time of his death. In this last decade of his painting career, his composition became slightly more developed and more in tune with the contemporary style but remained heavily influenced by the quattrocento style. During this time he mainly focused on portraits, which were the area where he was best able to adapt his style to the changing times. Landscapes started to decline in importance in his paintings although their presence never disappeared completely.
One exception to this trend is the painting The Lamentation which once again demonstrates Basaiti's ability to compose narrative scenes. The Lamentation blends many of the influences throughout Basaiti's life and exhibits his progress towards more organic lighting and forms.
Some call Basaiti one of the last masters of the early Renaissance and his works demonstrate a refined quattrocento style. However, despite his best efforts, his works are still generally considered to be one step behind the trends of the Venetian painting of that time.
Works
There are approximately 30 known pieces currently attributed to Basaiti.
The table is ordered by date and those with a range of dates were ordered based on their earliest estimated date. Those with no determined dates were listed last.