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In his biography of Tintoretto Carlo Ridolfi recounts the painter’s fleeting stay at Titian’s studio. But despite the unquestionable authority of this narrative, Tintoretto’s early works bear little resemblance to those of that artist from Pieve di Cadore. His paintings from the late 1530s—The Holy Family with Saint Jerome, the portrait of attorney Girolamo Marcello (private collection, Lucerne),
Alessandro Maganza, was the best-known member of a family of painters from Vicenza, in whose workshop he trained before moving to that of Giovanni Antonio Fasolo (1530-1572). Thereafter he was in Venice (c. 1572-1576), and his subsequent work shows the various influences of the leading artists of that city: Tintoretto (1519-1594), Veronese (1528-1588), and Palma Il Giovane (c. 1548-1628) as well a
As early as 1527, his name appears linked to his teacher, Juan de Borgoña, and other painters from Toledo, including Pedro de Cisneros and Francisco Comontes, with whom he frequently collaborated, especially in that city. In the fifteen thirties, after completing his training, he undertook important projects, their first of which was probably the retables for the Poor Clares' monastery in Griñón (
He was first taught in his native Arezzo by the little-known French glass painter and fresco painter, Guillaume de Marcillat (1475-1529 or 1537). By 1524, he had moved to Florence, where he worked for Andrea del Sarto (1486-1530), in whose studio he became acquainted with Francesco Salviati (1510-1563). During his early training in Florence, he met Michelangelo (1475-1564) and Baccio Bandinelli (1
Born to an important family from Cadore, Titan arrived in Venice around 1500-1502. There, after first working in Giovanni Bellini’s workshop, he entered that of his older brother Gentile Bellini. Around 1507, he began working with Giorgone on the decoration of the façades of the Fondaco dei Tedeschi, the German merchants’ warehouse in Venice. Today, only a small part of the original frescoes remai
Vasari (1511-1574), who was himself a pupil of Andrea del Sarto (Andrea d'Agnolo) during the mid-1520s, indicated that this painter and draftsman trained under an obscure artist, Gian Barile, before moving to the workshop of Piero di Cosimo (1461/62-c. 1521). He gained independence in 1508 when, with Franciabigio (1484-1525), he established his own workshop. Around this time, del Sarto secured a n
This German painter and treatise-writer was the most outstanding proponent of early neoclassicism. He began art studies in Dresden under the severe supervision of his father, Ismael Mengs, a painter at the court of Saxony. Between 1741 and 1744, he lived with his father and brothers in Rome, where he was able to study classical Antiquity and the works of Michelangelo and Raphael at the Vatican. Du
Together with his brother Giovan Pietro, Luini was the perpetuator of the style of their father, the Milanese painter, Bernardino Luini (c. 1480/85-1532), whose premature death left his frescoes in S. Maurizio, Milan incomplete. Executed during the 1550s, they reflect the style both of his deceased father and that of Leonardo da Vinci (1452-1519); they were completed posthumously by his two sons.
Prolific frescoist and draftsman; it is probable that Gambara trained in the Campi workshop at Cremona, before returning to Brescia in 1549. There, he became an assistant to Gerolamo Romanino (1484/87-[?]1560), marrying the latter's daughter, Margherita, in 1556. Thenceforth, he continued to work mainly in his native Brescia, but also spent periods in Mantua, Cremona, and Parma. In the '1550s, he
Flemish painter and draftsman, he was for long active in Italy. In 1556-1557, he is recorded in Antwerp as the pupil of the landscape painter Kerstiaen van Queboom (1515-1578). He arrived in Bologna in c. 1560, where he was to remain for the remainder of his career, except for a period in Rome in 1572-1575. On his arrival in Bologna, he entered the workshop of Prospero Fontana (1512-1597), leaving
Bandinelli was, after Michelangelo (1474-1564), the leading Florentine sculptor of the period. He was the son of the prominent Florentine goldsmith Michelangelo di Viviano (1459-1528), by whom he was first trained, and was subsequently apprenticed to a number of sculptors, including Gianfrancesco Rustici (1474-1554). Bandinelli was unswervingly loyal to the ruling Medici house, which resulted in a