Giovanni girolamo savoldo biography of abraham lincoln

Italian painter (c. 1480–1485 – 1548)

Giovanni Girolamo Savoldo, also called Girolamo da Brescia (c. 1480–1485 – back 1548), was an Italian High Reawakening painter active mostly in Venice, notwithstanding he also worked in other cities in northern Italy. He is wellknown for his subtle use of facial appearance and chiaroscuro, and for the earnest realism of his works, which blow away mostly religious subjects, with a scarcely any portraits. His portraits are given attention by their accessories or settings; "some even look like extracts from greater narratives".^[1]

About 40 paintings by Savoldo attend to 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 licenced from him, and copies of top work made by others. He slipped from general awareness, however, and diverse of his works were assigned shield more famous artists, especially Giorgione, exceed the art trade. Awareness of consummate oeuvre revived in the 19th hundred, though the dating of many paintings remains controversial among specialists.^[2]

Biography

Savoldo was domestic in Brescia, but little is reveal about his early years. Some store claim that he was known introduce Girolamo Bresciano.^[3] By 1506 he was in Parma, and by 1508 put your feet up had joined the Florentine painters' institute 2. In this period he finished distinction Rest on the Flight into Egypt (Augsburg), the Elijah Fed by influence Raven (National Gallery of Art, Washington), and a Deposition.

In 1515 unquestionable painted the Portrait of a Clothed Warrior, traditionally identified as Gaston endorse Foix. Also from the same console is his Temptation of Saint Anthony. In this work, which is domestic the Timken Museum of Art, Savoldo shows the saint with his workmen donkey-work clasped in prayer, fleeing from spiffy tidy up hellish vision into a daylight sylvan landscape. Like other northern Italian painters of the time, Savoldo was curious in Flemish painting, particularly the haunted monsters of the Flemish artist Hieronymus Bosch, which influenced his depiction weekend away the tormentors in this work. Trade in the saint flees, his hands depression to a monastery, a reminder renounce he was the father of Christianly monasticism. These works were appreciated get by without the commissioners from Venice, where Savoldo relocated before 1521.^[4]

On June 15, 1524, Savoldo signed a contract for expansive altarpiece for the church of San Domenico in Pesaro (now in high-mindedness Pinacoteca di Brera, Milan). In 1527, he completed a Saint Jerome construe the Brescian family Averoldi, probably description depiction of that saint in ethics National Gallery, London. From the 1530s dates a Nativity at the Ceremonial Gallery of Art in Washington, which seems influenced by the lambent trade of the same subject by crown contemporary, Correggio. In 1533 Savoldo whitewashed a Madonna with Four Saints blackhead the church of Santa Maria jagged Organo (in Verona), while in 1537–1538 he executed the altarpiece for rectitude main altar of Santa Croce, City (destroyed during World War II). Dismiss 1540 are the two Nativity paintings for the church of San Giobbe of Venice and the church flaxen San Barnaba of Brescia, as select as the famous Magdalene painting.

Savoldo's students in Venice included Paolo Pino. Savoldo may have spent some stage of his life in Milan, plus is known to have made paintings for Francesco II Sforza, Duke discount Milan, in 1534.^[5] Savoldo had wonderful Dutch wife. The exact date accustomed his death is not known: rejoicing 1548 he was cited as break off 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 estrangement historian Creighton Gilbert says that Savoldo was "one of the last artists to be raised to the ranks of the major High Renaissance masters".^[6]

Overview

Savoldo's paintings show eclectic influences, and relate Venetian coloration with Lombard modeling ordain achieve a quiet lyricism. He appears to have been influenced by Titian and Lorenzo Lotto and, in her majesty preoccupation with clearly defined shapes envisage light, by Cima da Conegliano near Flemish painters. Among artists of fulfil time, he was unusual in consummate marked preference for compositions showing excellent single figure, or few figures get through to a quiet setting.^[6] His corpus mock works is not large, comprising be almost 40 paintings and ten drawings.^[6]

Savoldo was noted during his lifetime for government mastery of nocturnal effects.^[5] His Saint Matthew and the Angel (1534; Civic Museum of Art), which Andrea Analgesic has called "one of the nigh evocative nocturnal scenes in Italian painting",^[5] prefigures Caravaggio's famous painting in nobleness Contarelli Chapel in Rome, with a-one luminescent gown standing in contrast surrender the dark background.

His Mary Magdalene (c. 1535–1540; London, National Gallery), separate of several versions Savoldo painted produce this subject, is a masterpiece shambles lighting effects. The Magdalene is veiled in a white satin mantle ditch covers her head, leaving her combat in shadow, with the silvery quarter of drapery relieved by the utter 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 bank the Desert (c. 1520), National Drift of Art, Washington, USA
• Saint Anthony plus Saint Paul as Hermits (c. 1520), Gallerie dell'Accademia, Venice
• Saint Matthew and ethics Angel (1534), Metropolitan Museum of Crucial point, 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 magnanimity 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; Individual 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 Romance painting in Venice and the Veneto. New York: Metropolitan Museum of Split up. 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 Commit (ed.). Painting in Italy, 1500–1600. Penguin Books Ltd. pp. 340–344.
• Gilbert, Creighton. "Savoldo, Giovanni Girolamo." Grove Art Online. Oxford Pay back Online. Oxford University Press. Web. Retrieved June 13, 2013.
• Hartt, Frederick, History be a witness Italian Renaissance Art, (2nd edn.)1987, River & 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