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He was a pupil of Pellegrino Tibaldi. Few of his paintings have certain attribution; among them are a Madonna and Child with Saints, painted for the Sanctuary of Santa Maria della Vita in Bologna; and a Circumcision (1571), painted for the Church of Santa Maria Maggiore and completed by Prospero Fontana.
References
Getty ULAN entry
Oberlin entry for The Presentation in the Temple (1567)
Giovanni Ghisolfi (1623 – 7 June 1683) was an Italian painter of the Baroque period.
Biography
Born in Milan, he initially trained with his uncle, Antonio Volpino. At the age of 17, he traveled to Rome with his friend Antonio Busca where he painted veduta and capricci, mainly landscapes with architectural fragments and ruins. They would garner renewed interest with the rise of Neoclassicism in the mid-late 18th century.
In 1661, he decorated a chapel of the Certosa di Pavia. In 1664 he was called to Vicenza to execute a series of decorative landscape frescoes in the Palazzo Trissino Baston and the Palazzo Giustiniani Baggio. He painted also in Palazzo Borromeo Arese at Cesano, Reatis' Palace in Lissone and in the fourth chapel of the Sacri Monti and covered the vaults of the Basilica of San Vittore in Varese.
Among his pupils was his nephew, Bernardo Racchetti from Milan (1639–1702).
References
Wittkower, Rudolf (1980). Art and Architecture in Italy, 1600-1750. Penguin Books. p. 350.
Artnet Grove Encyclopedia entry
Giovanni Girolamo Savoldo, also called Girolamo da Brescia (c. 1480–1485 – after 1548), was an Italian High Renaissance painter active mostly in Venice, although he also worked in other cities in northern Italy. He is noted for his subtle use of color and chiaroscuro, and for the sober realism of his works, which are mostly religious subjects, with a few portraits. His portraits are given interest by their accessories or settings; "some even look like extracts from larger narratives".
About 40 paintings by Savoldo are known in all, six of them portraits; only a handful of drawings by him are known. He was highly regarded in his own lifetime; several repetitions of works were commissioned from him, and copies of his work made by others. He slipped from general awareness, however, and many of his works were assigned to more famous artists, especially Giorgione, by the art trade. Awareness of his oeuvre revived in the 19th century, though the dating of many paintings remains controversial among specialists.
Biography
Savoldo was born in Brescia, but little is known about his early years. Some sources claim that he was known as Girolamo Bresciano. By 1506 he was in Parma, and by 1508 he had joined the Florentine painters' guild. In this period he finished the Rest on the Flight into Egypt (Augsburg), the Elijah Fed by the Raven (National Gallery of Art, Washington), and a Deposition.
In 1515 he painted the Portrait of a Clad Warrior, traditionally identified as Gaston of Foix. Also from the same period is his Temptation of Saint Anthony. In this work, which is in the Timken Museum of Art, Savoldo shows the saint with his hands clasped in prayer, fleeing from a hellish vision into a daylight pastoral landscape. Like other northern Italian painters of the time, Savoldo was interested in Flemish painting, particularly the nightmarish monsters of the Flemish artist Hieronymus Bosch, which influenced his depiction of the tormentors in this work. As the saint flees, his hands point to a monastery, a reminder that he was the father of Christian monasticism. These works were appreciated by the commissioners from Venice, where Savoldo relocated before 1521.
On June 15, 1524, Savoldo signed a contract for an altarpiece for the church of San Domenico in Pesaro (now in the Pinacoteca di Brera, Milan). In 1527, he completed a Saint Jerome for the Brescian family Averoldi, probably the depiction of that saint in the National Gallery, London. From the 1530s dates a Nativity at the National Gallery of Art in Washington, which seems influenced by the lambent painting of the same subject by his contemporary, Correggio. In 1533 Savoldo painted a Madonna with Four Saints in the church of Santa Maria in Organo (in Verona), while in 1537–1538 he executed the altarpiece for the main altar of Santa Croce, Brescia (destroyed during World War II). From 1540 are the two Nativity paintings for the church of San Giobbe of Venice and the church of San Barnaba of Brescia, as well as the famous Magdalene painting.
Savoldo's students in Venice included Paolo Pino. Savoldo may have spent some years of his life in Milan, and is known to have made paintings for Francesco II Sforza, Duke of Milan, in 1534. Savoldo had a Dutch wife. The exact date of his death is not known: in 1548 he was cited as still living in Venice, though vecchione ("very old"). After his death, he was almost entirely forgotten for three centuries. A rediscovery of his oeuvre began in the mid-nineteenth century; the art historian Creighton Gilbert says that Savoldo was "one of the last artists to be raised to the ranks of the major High Renaissance masters".
Overview
Savoldo's paintings show eclectic influences, and combine Venetian coloration with Lombard modeling to achieve a quiet lyricism. He appears to have been influenced by Titian and Lorenzo Lotto and, in his preoccupation with clearly defined shapes in light, by Cima da Conegliano and Flemish painters. Among artists of his time, he was unusual in his marked preference for compositions showing a single figure, or few figures in a quiet setting. His corpus of works is not large, comprising about 40 paintings and ten drawings.
Savoldo was noted during his lifetime for his mastery of nocturnal effects. His Saint Matthew and the Angel (1534; Metropolitan Museum of Art), which Andrea Bayer has called "one of the most evocative nocturnal scenes in Italian painting", prefigures Caravaggio's famous painting in the Contarelli Chapel in Rome, with a luminescent gown standing in contrast to the dark background.
His Mary Magdalene (c. 1535–1540; London, National Gallery), one of several versions Savoldo painted of this subject, is a masterpiece of lighting effects. The Magdalene is shrouded in a white satin mantle that covers her head, leaving her face in shadow, with the silvery expanse of drapery relieved by the merest glimpse of a red sleeve.
Selected works
See also Category:Paintings by Girolamo Savoldo
The Temptation of Saint Anthony (c. 1515–1520), Timken Museum of Art, San Diego, CA, USA
The Temptation of Saint Jerome (c. 1515–1530), Pushkin Museum, Moscow
Elijah in the Desert (c. 1520), National Gallery of Art, Washington, USA
Saint Anthony and Saint Paul as Hermits (c. 1520), Gallerie dell'Accademia, Venice
Saint Matthew and the Angel (1534), Metropolitan Museum of Art, New York, USA
San Domenico di Pesaro Altarpiece (1524–1526), Pinacoteca di Brera, Milan
Tobias and the Angel (c. 1527), Galleria Borghese, Rome
Portrait of a Clad Warrior (c. 1529), Louvre Museum, Paris
Transfiguration (c. 1530), Uffizi Gallery, Florence
Adoration of the Shepherds (c. 1540), Pinacoteca Tosio Martinengo, Brescia
Portrait of a Young Flautist (c. 1540), Pinacoteca Tosio Martinengo, Brescia
Mary Magdalene (1535–1540), Getty Center, Los Angeles; National Gallery, London; Contini-Bonacossi Collection/Uffizi, Florence; Gemäldegalerie, Berlin
References
Sources
Bayer, A., & Metropolitan Museum of Art (New York, N.Y.). (2005). North of the Apennines: Sixteenth-century Italian painting in Venice and the Veneto. New York: Metropolitan Museum of Art. OCLC 62121606
Cristiani, Federico Nicoli (1807). Della Vita delle pitture di Lattanzio Gambara; Memorie Storiche aggiuntevi brevi notizie intorno a' più celebri ed eccelenti pittori Bresciani. Spinelli e Valgiti, Brescia. pp. 186–187.
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500–1600. Penguin Books Ltd. pp. 340–344.
Gilbert, Creighton. "Savoldo, Giovanni Girolamo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. Retrieved June 13, 2013.
Hartt, Frederick, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104
Penny, Nicholas, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume I, 2004, National Gallery Publications Ltd, ISBN 1857099087
External links
Giovanni Girolamo Savoldo, Encyclopaedia Britannica
Web Gallery of Art Biography and Images
Timken Museum of Art – Torment of St Anthony
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Savoldo (see index)
Giovanni Lanfranco (26 January 1582 – 30 November 1647) was an Italian Baroque painter.
Biography
Giovanni Gaspare Lanfranco was born in Parma, the third son of Stefano and Cornelia Lanfranchi, and was placed as a page in the household of Count Orazio Scotti. His talent for drawing allowed him to begin an apprenticeship with the Bolognese artist Agostino Carracci, brother of Annibale Carracci, working alongside fellow Parmese Sisto Badalocchio in the local Farnese palaces. When Agostino died in 1602, both young artists moved to Annibale's large and prominent Roman workshop, which was then involved in working on the Galleria Farnese in the Palazzo Farnese gallery ceiling. Lanfranco is considered to have contributed to the panel of Polyphemus and Galatea (replica in Doria Gallery) and some minor works in the room.
Afterwards, while still technically a member of the Carracci studio of Carracci, Lanfranco, along with Guido Reni and Francesco Albani, frescoed the Herrera (San Diego) Chapel in San Giacomo degli Spagnoli (1602–1607). He also participated in the fresco decoration of San Gregorio Magno and of the Cappella Paolina in Santa Maria Maggiore.
Independent work
By 1605, Lanfranco was obtaining some independent commissions; for example, he contributed paintings to the Camerino degli Eremiti in the Palazzetto Farnese (also known as Casino della Morte), once a low building on the Via Giulia, adjacent to the church of Santa Maria dell’Orazione e Morte. The camerino had been constructed by Cardinal Odoardo Farnese, next to his palace and gardens, and was destroyed in 1734 to allow for the construction of the aforementioned church. Of the canvases and frescoes by Domenichino, Girolamo Pulzone, Paul Bril, and Lanfranco, some are conserved in the new church. Among other works, Lanfranco contributed to this series, the eccentric Translation of the Magdalen.
After the death of Annibale Carracci in 1609, and with the Emilian school of painting temporarily out of favor, Lanfranco returned to his native Parma for two years. There, he met Bartolomeo Schedoni and painted the altarpiece for the Ognissanti church. Lanfranco also produced paintings and altarpieces in Orvieto, Vallerano, Leonessa and Fermo.
Return to Rome
After his return to Rome by 1612, Lanfranco competed with other Carracci students and assistants—including Reni, Albani, and Domenichino—for Roman patronage. Reni, however, was soon to depart for Naples and then Bologna. During the following decades in Rome, through the 1620s, Lanfranco and Domenichino engaged in a rivalry for the main fresco commissions. A measure of the competition can be gauged from Lanfranco's public accusation, not wholly without merit, that Domenichino had plagiarized Agostino Carracci in his painting of the Confession of St. Jerome, now in the Vatican.
Unlike Domenichino, Lanfranco was fairly eclectic in terms of style but preferred a visionary, theatrical approach suitable for the ceiling paintings gaining currency in the early 17th century. His works suggest some influence from the late work of Ludovico Carracci, a cousin of Agostino and Annibale, and possibly from Caravaggio—as, for example, in the altarpiece depicting the Inspiration of Saint Luke at Piacenza (1611)—though the stylistic importance of Caravaggio to Lanfranco has been disputed. In other works, he assimilated and adapted the style of his compatriot and predecessor of the 16th century, Antonio Correggio, as in his Adoration of the Shepherds painted before 1608 for the Marchese Clemente Sannesi and his brother the Cardinal Jacopo.
Lanfranco's studio became quite active, painting frescoes in the Palazzo Mattei and decorating the Buongiovanni Chapel in Sant'Agostino (1616), which includes a Correggesque Assumption, along with easel paintings. His Annunciation (1615) in San Carlo ai Catinari in regarded as one of his best works. Soon, Lanfranco became the pre-eminent painter of the circle of Pope Paul V. He painted frescoes for the Palazzo Costaguti and a large ceiling fresco in quadratura at the Villa Borghese, The Gods of Olympus or also called Council of the Gods.
In the following year, Lanfranco together with Agostino Tassi and Carlo Saraceni decorated the Sala de' Corazzieri and Sala Regia of the Palazzo del Quirinale. His formal Presentation at the Temple has the sunlit Carraci-like style. In 1622, he painted the Ectasy of Saint Margaret of Cortona (Galleria Platina, Palazzo Pitti, Florence) as an altarpiece for Santa Maria Nuova in Cortona, where Margaret lived and died. The painting could well have inspired the pose in Bernini's famous St Theresa in ecstasy. In 1623–1624, he decorated the Sacchetti Chapel in San Giovanni dei Fiorentini in Rome.
While Paul V's successor, Gregory XV, preferred works by Guercino and Domenichino, Lanfranco won commissions for the Crucifix Chapel in Santa Maria in Vallicella. Lanfranco's crowning masterpiece, however, and one of the major church fresco decoration of the late 1620s, was his Assumption of the Virgin frescoed on the dome of Sant'Andrea della Valle. Completed in 1627 in sotto in su perspective, the crowded array of figures is a landmark in Baroque painting with bright golden coloration and energy. Lanfranco was influenced by Correggio's pioneering decoration of the Duomo di Parma.
Urban VIII commissioned him a large fresco portraying St. Peter Walking on Waters (1628, now fragmentary), for which Lanfranco gained the title of Knight of the Order of Christ. In 1631, Lanfranco was named Prince (Principe) of the Academy of Saint Luke, the artist's guild in Rome. There is also a fresco by Giovanni Lanfranco above the monument of Pope Clement VIII in Santa Maria Maggiore in (Rome).
From 1634 to 1646, Lanfranco began decorating the dome and pendentives of the Jesuit church of the Gesù Nuovo in Naples in 1634–1637. In 1637–1638, he frescoed the nave and choir of the Certosa of San Martino. This was followed by the decoration of Santi Apostoli in 1638–1646 and the dome of the Cappella of San Gennaro in the Cathedral of Naples. These works would invigorate the efforts of the grand manner Napolitan painters of the second half of the 17th century: Preti, Giordano and Solimena. He died in Rome in 1647, where his last work was apse of San Carlo ai Catinari.
Legacy and critical assessment
Lanfranco was a versatile and eclectic trainee of the Carracci, and continued their tradition with dramatic flair compared to the often restrained Domenichino, who mimicked mainly Annibale's grand manner. Lanfranco explored new styles, bridged traditions, painted in both mannerist and baroque styles, using a tenebrist and the colorist palette. Among his pupils was Giacinto Brandi.
Selected works
Venus plays the Harp, Galleria Nazionale d'Arte Antica, Rome (Palazzo Barberini)
Alexander tended by the doctor and Alexander refusing water to drink from his men
The Annunciation (c. 1615–1624) San Carlo ai Catinari, Rome
Coronation of the Virgin with St. Augustine and St. William of Aquitaine
Hagar in the Wilderness (Louvre)
Liberation of Saint Peter (c. 1620–21), Birmingham Museum of Art, Alabama
Palazzo Quirinale frescoes
References
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Giovanni Lanfranco". Catholic Encyclopedia. New York: Robert Appleton Company.
Sources
Cropper, Elizabeth. Domenichino Affair. Washington: Center for Advanced Study in the Visual Arts, National Gallery of Art.
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600–1750. 1980. Penguin Books. pp. 80–88.
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. 483–493.