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By 1456, Vincenzo Foppa was working independently as an artist and had likely moved to Pavia, where he was living by 1458 at the latest. By this time, he had married a fellow Brescian by the name of Caylina, the daughter of Caterina de Bolis of Cremona, and had children with her. The art community in Pavia was more dev... |
Milan |
In 1463, Foppa was called to Milan by Francesco Sforza to work on various projects. The first of these was a fresco for the portico of the new Ospedale Maggiore, depicting the Sforza family ceremonially laying the first stone for the hospital. The architect of the hospital was Filarete, who later honoured Vincenzo Fopp... |
In 1468, Foppa was again commissioned by Pigello Portinari to decorate the Portinari Chapel at Saint Eustorgio in Milan. The Chapel holds the remains of Saint Peter Martyr of Verona, and for a time held those of Portinari himself. While it is not certain that Foppa painted the Chapel himself, the fresco cycle Life of S... |
After the death of his father Francesco, Duke Galeazzo Maria Sforza continued his family's close relationship with Foppa, first commissioning an altarpiece at Monza in 1466 and making him a member of the ducal household in 1468. Upon a request from Foppa in 1468, the new Duke granted him citizenship in Pavia and safe c... |
Foppa returned to Brescia to paint an altarpiece for the Church of Saint Maria Maddalena in 1472 but had returned to Milan by 1473. Several surviving Madonnas were likely completed around this period, or at some point in the 1460s. Some of these paintings are made to look almost like reliefs or sculptures, exhibiting t... |
Pavia |
In 1474, Foppa collaborated with Zanetto Bugatto and Bonifacio Bembo on an ambitious altarpiece for the Castello of Pavia, but work on the project was halted when Galeazzo Sforza was murdered in 1476. Some surviving panels have been speculated to be part of this Castello project. The trio also worked on various other c... |
Later years |
By 1489, Foppa was back in Liguria, completing a since-destroyed altarpiece for the Doria Chapel of the Certosa di Rivarola near Genoa in February. The following year Foppa completed another altarpiece, this one for the oratory of Santa Maria di Castello in Savona. This work was commissioned by Giuliano della Rovere, a... |
Style |
Foppa's style was heavily influenced by Bellini, Pisanello, and Mantegna. His human figures are typically shown with a silvery-grey skin tone, a feature that has become the identifying quality of the Lombard school. This colouration gives the subjects an almost morbid appearance. Foppa was celebrated for his use of per... |
Legacy |
Foppa was renowned as the greatest painter of his era in Lombardy and is considered the founder of the Early Lombard School. While art communities existed in Pavia and Milan before his arrival, it was his work that gave Lombard art an identity and a renewed vitality. During the peak of his career from the 1460s to the ... |
Notable works |
Madonna and Child with Angels, c.1450, Florence, Berenson Collection |
Crucifixion, 1456, Bergamo, Accademia Carrara |
St. Jerome Penitent, c.1460, Bergamo, Accademia Carrara |
Madonna of the Book, 1460–1468, Milan, Pinacoteca del Castello Sforzesco |
Madonna and Child, 1460–1470, Berlin, Staatliche Museen |
Boy Reading Cicero, c. 1464, London, Wallace Collection |
Frescoes of the Portinari Chapel, 1464–1468, Milan, Basilica of Sant'Eustorgio |
Four Doctors of the Church |
Eight Busts of Saints |
Four Scenes from the Life of St. Peter Martyr : |
Cloud Miracle |
Miracle of the False Madonna |
Miracle of Narni |
Martyrdom of Saint Peter of Verona |
Annunciation |
Assumption of the Virgin |
St. Augustine, 1465–1470, Milan, Pinacoteca del Castello Sforzesco |
St. Theodore, 1465–1470, Milan, Pinacoteca del Castello Sforzesco |
St. Christopher, c.1470, Denver, Denver Art Museum |
Evangelists, 1477, Brescia, Carmelite Church of Santa Maria, Averoldi chapel |
Madonna and Child with an Angel, 1479–1480, Florence, Uffizi |
Bottigella Altarpiece, c.1486, Pavia, Civic Museums |
St. Francis receiving the stigmata and St. Giovanni Battista, 1488–1489, Milan, Pinacoteca del Castello Sforzesco |
Saint Sebastian, c.1489, Milan, Pinacoteca di Brera |
Madonna and Child in a Landscape, c.1490, Philadelphia, Philadelphia Museum of Art |
Altarpiece, c.1490, Oratory of Our Lady of the Castle, Savona, with Ludovico Brea |
Madonna and Child, 1490–1495, Milan, Museo Poldi Pezzoli |
Madonna and Child, 1492, Brescia, Chiesa di Santa Maria Assunta di Chiesanuova |
Martyrdom of St. Sebastian, c.1485, Milan, Pinacoteca del Castello Sforzesco |
Portrait of Giovanni Francesco Brivio, 1495, Milan, Museo Poldi Pezzoli |
Portrait of an Old Gentleman, 1495–1500, Philadelphia, Philadelphia Museum of Art |
St. Anthony of Padua, 1495–1500, Washington, National Gallery of Art |
San Bernardino of Siena, 1495–1500, Washington, National Gallery of Art |
Altarpiece of Santa Maria delle Grazie, 1500–1510, Milan, Pinacoteca di Brera |
Adoration of the Magi, c.1500, London, National Gallery |
== References == |
Vincenzo Meucci (1694–1766) was an Italian painter of the late-Baroque period. Born in Florence. He was a pupil first of the painter Sebastiano Galeotti, then of Giovanni Gioseffo dal Sole in Bologna. |
He was patronized by the Marchese Giovan Battista Salimbeni of Siena, as well as the cardinals Alessandro Chigi Zondadari and Neri Corsini. His masterpiece was a commission by Anna Maria Luisa de' Medici, the last Medici resident of the Pitti Palace, who contracted him to fresco the cupola of the Basilica di San Lorenz... |
Among his pupils are Tommaso Gherardini. |
Selected works |
Frescoes for Chapel of San Mauro, Badia Fiorentina, Florence (1717) |
Madonna del Rosario, Santa Lucia alla Castellina, Sesto Fiorentino (1731) |
Frescoes for ceiling at the entrance of Ospedale di San Giovanni di Dio, Florence(1735) |
Frescoes for Palazzo Panciatichi, Florence (c. 1741) |
Marriage of Virgin San Paolino, Florence |
Altarpiece for church of Santa Maria Maggiore, Florence |
Ascension of Christ, frescoed on nave ceiling of San Salvatore al Vescovo, Florence |
References |
Hobbes, James R. (1849). Picture collector's manual adapted to the professional man, and the amateur. London: T&W Boone. p. 97. |
Drawing's from Lille. Florence, Palazzo Pitti, Review author[s]: Luisa Vertova |
The Burlington Magazine (1992) p 141–2. |
Vittore Carpaccio (UK: /kɑːrˈpætʃ(i)oʊ/, US: /-ˈpɑːtʃ-/, Italian: [vitˈtoːre karˈpattʃo]; (born between 1460 and 1465; died c. 1525) was an Italian painter of the Venetian school who studied under Gentile Bellini. Carpaccio was largely influenced by the style of the early Italian Renaissance painter Antonello da Messin... |
Carpaccio's works ranged from single pieces painted on canvas to altarpieces and large pictorial cycles. Several of the altarpieces, including St. Thomas Aquinas Enthroned (1507), Presentation of Christ in the Temple (1510), and Martyrdom of the Ten Thousand (1515), were commissioned by churches in Venice, while the pi... |
He is perhaps known best for his large urban scenes, such as the Miracle of the Relic of the Cross at the Ponte di Rialto. This work offers some of the best impressions of Venice at the height of its power and wealth, illustrating the strong sense of civic pride among its citizens. In other paintings he demonstrates a ... |
By about 1510 Carpaccio's style was perceived by contemporaries as too conservative, showing little influence from the Humanist trends that transformed Italian Renaissance painting during his lifetime. Scholarship in English dedicated to his biography and works remains meager when compared with the scholarship about hi... |
Early life and works |
Carpaccio was born in Venice (between 1460 and 1465), the son of Pietro Scarpaza, a Venetian furrier in the parish of Arcangelo Raffaele. Although Carpaccio's precise date of birth remains unknown, various documents have offered clues in order to narrow it down to a particular span of years. In a will from 1472, his un... |
Carpaccio (or Scarpaza, Scarpazza or Scarpanza or Scarpanzo, as the name was variously recorded in the Venetian dialect) came from a family originally from Mazzorbo, an island in the diocese of Torcello. Archival documents trace the family back to at least the thirteenth century, and its members were diffused and estab... |
Early twentieth-century scholars Molmento and Ludwig argued that Carpaccio's first teacher Lazzaro Bastiani, who, like the Bellini brothers and Vivarini, was the head of a large atelier in Venice. In the end, scarce details remain about his early life, leaving scholars to piece together his early artistic training and ... |
Carpaccio's earliest known solo works are a Virgin and Child (c. 1488 or 1489) at the Museo Correr (Fondazione Musei Civici di Venezia) and the Salvator Mundi with Four Saints (c. 1489 – c. 1490) owned by the Fondazione Luciano Sorlini in Carzago di Calvagese (in Brescia). The Virgin and Child reflects the influence of... |
Carpaccio's Madonna and Child with Two Saints (c.1485-1510) was destroyed during World War II. It was stored in a flak tower in Berlin for safe keeping, but in May 1945, the tower was set on fire and most of the objects inside were destroyed. |
Principal works (1490–1520s) |
Carpaccio's principal works were executed between 1490 and 1519, placing him among the early masters of Venetian painting in the Renaissance. |
By 1490, Carpaccio painted The Legend of Saint Ursula, a series of paintings for the Scuola di Sant'Orsola, one of the religious confraternities in Venice (see below "Narrative Cycles" for more on this series). This series elevated his prominence in early Renaissance Venice, allowing him to distinguish himself as a cap... |
Around 1501–1507, he worked with Giovanni Bellini, painting in the Sala del Gran Consiglio in the Doge's Palace. Like many other major works, the cycle was entirely lost in the fire of 1577. |
Shortly after the year 1502, Vittore Carpaccio's St. Augustine in His Study was painted and signed with the inscription: VICTOR / CARPATHIVS / FINGEBAT. The artist situates the saint in an idealized interior domestic space, alluding to contemporary practices in the art of collecting during the Renaissance period. This... |
Carpaccio completed additional narrative cycles and expanded his oeuvre. Between 1502 and 1504, he portrayed episodes from the lives of Saint Jerome and the Virgin Mary. |
The legend of Saint George is referenced in his painting, St. George Baptizing the Selenites (1507). According to the Golden Legend, George, a Christian knight, rescues a Libyan princess who has been offered in sacrifice to a dragon. Horrified that her pagan family would do such a thing, George brings the dragon back ... |
From 1507 to 1508, Carpaccio executed the work, St. Tryphonius Exorcizing the Demon. |
In 1508, he joined a committee established to assess the frescoes painted by Giorgione, which had been commissioned by the Fondaco dei Tedeschi, a trading post for German merchants. |
Carpaccio appears to have been influenced by Cima da Conegliano, as evidenced in the Death of the Virgin from 1508, at Ferrara. In 1510, Carpaccio executed the panels of Lamentation on the Dead Christ and The Meditation on the Passion, where the sense of sorrow found in such works by Mantegna is backed by extensive use... |
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