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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),
The personality of Italian sculptor Leone Leoni is as thrilling as that of his contemporaries, Titian, Michelangelo and Benvenuto Cellini. In 1533, he was a twenty-four-year-old goldsmith living with his wife, Diamante, in Venice as a protégé of poet Pietro Aretino. That period was marked for him by the birth of his son, Pompeo, whom he trained in his studio and introduced to northern Italian circ
A student of Michele di Ridolfo (1503-1577), Poccetti specialized as a frescoist. During his early period, his painted facades in Florence were celebrated enough to earn him the nickname "Bernardino delle facciate"; extant examples include those decorating the Palazzo di Bianca Capello. Following a short period in Rome (1578-1580) he returned to Florence and began also to work on large-stale inter
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
A Netherlander by birth, Candid moved to Florence with his father, the bronze-caster Elias de Witte, when he was about ten years old. Biographical details are provided by Karel van Mander (1548-1606), whom he met in that city in 1574. According to van Mander, Candid assisted Vasari (1511-1574) with the decoration of the interior of the Sala Regia in the Vatican, as well as with the cupola of Flore
Siciolante became an assistant to Perino del Vaga (1501-1547) following a probable apprenticeship with Leonardo Grazia da Pistoia (active in 1520-1550). His earliest certain surviving work -an altarpiece depicting the Virgin and Child with Saints Peter, Stephen and John the Baptist (1541) for SS. Stefano e Pietro, Valvisciolo- reflects the influence of both artists. While this is a rudimentary pie