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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 ... |
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 ... |
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 m... |
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 work... |
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 (Nat... |
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 pastora... |
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 ... |
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 vecchi... |
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... |
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... |
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 glimp... |
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 fel... |
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 Sa... |
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 const... |
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, Va... |
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 riv... |
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... |
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 b... |
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 ... |
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... |
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 La... |
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... |
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 ... |
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. |
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