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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),
Born around the end of the second decade of the 16th century, Anthony More trained with the Romanist painter Jan van Scorel, a prominent portraitist and excellent connoisseur of the Italian cultural scene having sojourned on the Italian peninsula on several occasions. The young artist thus learned the principles of technique and aesthetics applied to portrait painting. He soon came into contact wi
Luis de Morales was born in 1510 or 1511. In an affidavit made in December 1584, the painter declared himself to “be of the age of seventy-three or four years”, an affirmation that confirms the information given by Antonio Palomino in his “Vidas”. The painter almost certainly died in 1586 in Alcántara, the place where he had settled in the last years of his life. According to the testimony of his
He spent most of his career as a painter in Rome, where he appears documented before 1633. There he became involved with the Bamboccianti movement, and shortly afterwards, he joined the Schildersbent confraternity, reserved for Flemish artists living in the city. Between 1636 and 1658, he remained in Rome, where he produced small-scale genre works. In these works, he depicted the everyday life of
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
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
Born to a noble family from Cremona, she learned painting alongside her five sisters. Her first studies, from around 1545, were with Bernardino Campi. Then, beginning in 1549, she continued with Bernardino Gatti. After visiting her family, Vasari remarked on Sofonisba’s preparation in both painting and drawing. She was particularly skilled at portraiture, with an informal style that often showed h