Painters Italy 15th century 16th century
![Jacopo Palma I](/assets/image/ArtImage_26911/8805d/vilpalmajacopojpg__fix_147_180.jpeg)
![Jacopo Palma I](/assets/image/ArtImage_26911/506a2/vilpalmajacopojpg__fix_86_98.jpeg)
Jacopo Palma the Elder, born in 1480, was an illustrious Italian painter whose work left an indelible mark on the Venetian Renaissance. Renowned for his vibrant colors, dramatic compositions, and adept storytelling, Palma the Elder was a master of both religious and secular themes, embodying the splendor of Venice in his canvases.
Known for his profound influence on the development of Venetian painting, Palma's art is celebrated for its dynamic use of light and shadow, a characteristic that would come to define the Venetian style. His ability to infuse scenes with emotional depth and realism drew viewers into his narratives, making his works compelling for both contemporary audiences and modern viewers.
Among his most notable works are his altarpieces, which grace many of Venice's storied churches, showcasing his skill in depicting sacred subjects with reverence and majesty. His portraits and mythological scenes are equally esteemed, housed in some of the world's most prestigious museums and galleries. These pieces not only highlight his technical prowess but also his versatility as an artist.
For collectors and experts in art and antiques, Jacopo Palma the Elder represents a pivotal figure whose contributions to the Renaissance continue to captivate and inspire. His paintings offer a window into the rich cultural and artistic milieu of early 16th-century Venice, making them highly sought after for their beauty and historical significance.
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![Jacopo Palma II](/assets/image/ArtImage_54790/7f164/palma-il-giovanejpg__fix_147_180.jpeg)
![Jacopo Palma II](/assets/image/ArtImage_54790/e4abe/palma-il-giovanejpg__fix_86_98.jpeg)
Iacopo Negretti, best known as Jacopo or Giacomo Palma il Giovane or simply Palma Giovane ("Young Palma"), was an Italian painter from Venice and a notable exponent of the Venetian school. After Tintoretto's death (1594), Palma became Venice's dominant artist perpetuating his style. Outside Venice, he received numerous commissions in the area of Bergamo, then part of the Venetian Domini di Terraferma, and in Central Europe, most prominently from the connoisseur emperor Rudolph II in Prague. Rejecting Mannerism in the 1580s, he embraced a reformist naturalism.[6] He varied the ingeniously synthesised amalgam according to subject matter and patrons' own eclectic and conservative tastes, with "virtuoso skill and a facile intelligence". Palma il Giovane went on to organize his own, large studio which he used to produce a repetitive series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic.
![Parmigianino](/assets/image/ArtImage_15670/16705/pvvjpg__fix_147_180.jpeg)
![Parmigianino](/assets/image/ArtImage_15670/8e614/pvvjpg__fix_86_98.jpeg)
Parmigianino, an Italian Mannerist painter born Girolamo Francesco Maria Mazzola, was a pivotal figure in the development of the Mannerist style, known for his sophisticated and elegant approach to painting. He was a leading figure in Parma's art scene following Correggio and had a significant influence on the artistic developments during the post-High Renaissance period through his expressive and stylish works.
Parmigianino's journey as an artist took him from Parma to Rome and then to Bologna, with his last years spent in Parma. His works, including the renowned "Madonna with the Long Neck," display a unique blend of grace and elegance, coupled with an idiosyncratic use of elongation and distortion, typical of Mannerist aesthetics. This painting, in particular, is noted for its unusual composition and the elongation of figures, embodying the Mannerist style's departure from the proportional norms established during the Renaissance.
He was also an early Italian etcher, utilizing this technique to express the spontaneity of an artist's hand. His etchings and drawings had a considerable influence on printmaking and the visual arts in Italy and Europe. In addition to his paintings, Parmigianino's contributions to the arts include his work in the church of the Steccata in Parma and his innovative approach to integrating painting with architectural elements.
For art collectors and experts, Parmigianino's work represents a critical link between the High Renaissance and the emergence of Baroque and Rococo styles, offering a unique insight into the evolution of European art. His works continue to be celebrated for their originality and mastery, making him a subject of enduring interest in the study of art history.
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![Bartolomeo Passerotti](/assets/image/ArtImage_36765/872cf/bartolomeopassarottijpg__fix_147_180.jpeg)
![Bartolomeo Passerotti](/assets/image/ArtImage_36765/f56b0/bartolomeopassarottijpg__fix_86_98.jpeg)
Bartolomeo Passerotti was an Italian painter of the mannerist period, who worked mainly in his native Bologna.
He influenced many Bolognese who would later play a role in the rise of the Baroque. Annibale Carracci (whose brother Agostino studied with Passerotti) was influenced by Passerotti's genre scenes in a select set of paintings (such as The Beaneater and The Butcher's Shop, the latter being originally attributed to Passerotti). Lucio Massari and Francesco Brizzi were among his pupils. Three of Passerotti's sons, including Ventura (1566–1618), Aurelio (1560–1609) and Tiburzio, were painters.
![Luca Penni](/assets/image/ArtImage_44094/e24eb/luca-pennijpg__fix_147_180.jpeg)
![Luca Penni](/assets/image/ArtImage_44094/21cec/luca-pennijpg__fix_86_98.jpeg)
Luca Penni was an Italian painter, draughtsman and printmaker, nicknamed Romano (Roman).
Luca was the younger brother of Raphael's first assistant, Giovanni Francesco Penni (1488/1496-1528), and must have originally studied under his brother in the environment of Raphael's studio. After Raphael's death, Luca worked in Genoa, then traveled to England, in the service of King Henry VIII, before leaving for France around 1530.
At Fontainebleau, together with French painters, Penni worked on the decoration of the royal palace and became one of the most respected artists there. His work had a marked influence on sixteenth-century French painting and was reproduced by Italian engravers. Penni also produced many designs for engravers including Leon Davent, Etienne Delon and Giorgio Ghisi, as well as for tapestries and stained glass.
The work of the first generation of Italian masters in France, mostly pupils and followers of Raphael, is called the "first school of Fontainebleau", and Luca Penni is a prominent representative of it.
![Giovan Francesco Penni](/assets/image/ArtImage_53088/3f177/giovan-francesco-pennijpg__fix_147_180.jpeg)
![Giovan Francesco Penni](/assets/image/ArtImage_53088/7b0ba/giovan-francesco-pennijpg__fix_86_98.jpeg)
Giovan Francesco Penni, an Italian painter born in 1488, carved a niche for himself amidst the luminaries of the Renaissance. As a native of Florence, his artistry was cradled in the birthplace of the Renaissance, allowing him to develop a specialization that beautifully married traditional techniques with the burgeoning innovations of the time.
Penni is best known for his intimate collaboration with Raphael, one of the era's most celebrated masters. This association not only honed his skills but also deeply influenced his artistic direction, imbuing his works with a blend of grace and narrative depth characteristic of the High Renaissance. Penni's contributions to art, though less documented than those of his contemporaries, highlight his adeptness in painting and his ability to capture the ethereal beauty of religious and mythological subjects.
His known works, which include contributions to the Raphael Rooms in the Vatican, stand as testament to his skill and artistic vision. While many of his individual pieces may reside in obscurity, those attributed to him and preserved in museums and galleries across Europe continue to enchant art lovers with their elegance and historical significance.
For collectors and experts in art and antiques, Giovan Francesco Penni represents an intriguing figure whose legacy is ripe for rediscovery. His works, woven into the tapestry of Renaissance art, offer a unique lens through which to explore an era that shaped the course of Western art history.
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![Pietro Perugino](/assets/image/ArtImage_36/a17f9/petro-perudzino-avtoportret-1497-1500jpg__fix_147_180.jpeg)
![Pietro Perugino](/assets/image/ArtImage_36/43b7a/petro-perudzino-avtoportret-1497-1500jpg__fix_86_98.jpeg)
Pietro Perugino, an Italian Renaissance painter from the Umbrian school, emerged as a pivotal figure in the transition towards the High Renaissance. Born Pietro Vannucci in Città della Pieve near Perugia, Perugino's work is celebrated for its clarity, spatial composition, and refined use of color, anticipating the High Renaissance ideals that would be fully realized by his students, including Raphael, his most famous pupil.
Perugino's career took him from Florence, where his style was influenced by the Florentine school, to Rome, where he contributed to the Sistine Chapel's frescoes, including notable works like the "Delivery of the Keys." His contributions to the Sistine Chapel, alongside other panels like "Moses" and "Zipporah," marked a significant commission in Rome, showcasing his mastery over fresco technique and narrative expression. These works, commissioned by Pope Sixtus IV, highlighted his ability to imbue religious scenes with a serene and harmonious quality, a hallmark of his style.
Beyond the Sistine Chapel, Perugino was prolific in producing altarpieces and frescoes across Italy, from Perugia to Florence, where his workshop nurtured talents like Raphael. His works, characterized by their serene landscapes and delicate figures, include "The Crucifixion" and the "Madonna and Child with Saints," showcasing his skill in portraying divine and earthly themes with equal grace. His ability to convey profound religious sentiment through balanced compositions and gentle expressions earned him commissions from various Italian states, demonstrating his wide appeal and influence.
Later in his career, Perugino continued to innovate, as seen in works like the "Battle between Love and Chastity," a departure from his usual themes, reflecting his versatility and responsiveness to patron demands. Despite facing criticism from contemporaries like Michelangelo for his perceived adherence to a more traditional style, Perugino's legacy endured, particularly through the achievements of his pupils. His approach to creating space and depth in painting directly influenced Raphael, who would carry forward and expand upon his master's techniques.
For collectors and experts in art and antiques, Perugino's works represent a critical link between the Early and High Renaissance, embodying the shift towards a more humanistic and naturalistic depiction of subjects. His paintings, many of which are housed in prestigious museums around the world, continue to be studied and admired for their beauty and historical significance.
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![Pinturicchio](/assets/image/ArtImage_43413/f0442/pinturicchiojpg__fix_147_180.jpeg)
![Pinturicchio](/assets/image/ArtImage_43413/1e86a/pinturicchiojpg__fix_86_98.jpeg)
Pinturicchio, real name Bernardino di Betto di Biagio, was an Italian Renaissance painter.
Pinturicchio was a representative of the Umbrian Quattrocento school. He studied with Fiorenzo di Lorenzo, and together with Raphael with Perugino, who helped him paint the frescoes in the Sistine Chapel at the Vatican (1481-1482). As a mature master, Pinturicchio rejected some of Perugino's principles - the monotony and gradualness of the figures, the unity of time and place - which brings him rather closer to Botticelli.
His best known murals are in the churches of Santa Maria del Popolo, Santa Maria in Araceli and the Borgia Apartments in Rome, and in Siena Cathedral (Piccolomini Library). The frescoes of this artist's works often feature 'grotesques'. Of the easel paintings, 'Portrait of a Boy' from the Old Masters Gallery in Dresden is noteworthy.
![Bernardino Poccetti (Barbatelli)](/assets/image/ArtImage_33393/7913b/vilpoccetti-bernardinopng__fix_147_180.jpeg)
![Bernardino Poccetti (Barbatelli)](/assets/image/ArtImage_33393/a8a3b/vilpoccetti-bernardinopng__fix_86_98.jpeg)
Bernardino Poccetti also known as Barbatelli, was an Italian Mannerist painter and printmaker of etchings. He was initially trained as a decorator of facades and ceilings, enrolling in 1570 in the Florentine painters guild for such work. In 1592–93, he worked on frescoes in the Certosa di Galluzzo relating to Life and Death of San Bruno. He painted scenes from the life of founder of the Convent of the Servites for the Annunziata. In his later works, he is considered one of the Florentine reformers—the so-called Counter-Maniera (Counter-Mannerism).
![Francesco Primaticcio](/assets/image/ArtImage_24622/bf1cc/vil-francesco-primaticciojpg__fix_147_180.jpeg)
![Francesco Primaticcio](/assets/image/ArtImage_24622/d4036/vil-francesco-primaticciojpg__fix_86_98.jpeg)
Francesco Primaticcio was an Italian Mannerist painter, architect and sculptor who spent most of his career in France.
Primaticcio's crowded Mannerist compositions and his long-legged canon of beauty influenced French art for the rest of the century.
![Camillo Procaccini](/assets/image/ArtImage_33407/ae4ad/vilprocaccinicamillojpg__fix_147_180.jpeg)
![Camillo Procaccini](/assets/image/ArtImage_33407/a49e8/vilprocaccinicamillojpg__fix_86_98.jpeg)
Camillo Procaccini was an Italian painter. He has been posthumously referred to as the Vasari of Lombardy, for his prolific Mannerist fresco decoration. He was the son of the painter Ercole Procaccini the Elder, and older brother to Giulio Cesare and Carlo Antonio, both painters.
![Giulio Cesare Procaccini](/assets/image/ArtImage_53120/50bc9/gcprocaccinijpg__fix_147_180.jpeg)
![Giulio Cesare Procaccini](/assets/image/ArtImage_53120/a75f5/gcprocaccinijpg__fix_86_98.jpeg)
Giulio Cesare Procaccini was an illustrious Italian painter and sculptor of the Baroque period, celebrated for his dynamic and expressive works. Born in Bologna and later moving to Milan, Procaccini's artistry was deeply influenced by the emotional intensity of Mannerism and the vibrant colorism of Venetian painting, signaling the dawn of the Baroque era.
Procaccini's oeuvre includes significant altarpieces such as the "Circumcision" now in the Galleria Estense in Modena, and the "Last Supper" for the Basilica della Santissima Annunziata del Vastato in Genoa. His collaboration with artists like Giovanni Battista Crespi and Pier Francesco Mazzucchelli under the patronage of Cardinal Federico Borromeo highlighted his pivotal role in the Milanese art scene. Moreover, Procaccini's "Ecce Homo" at the Dallas Museum of Art and "The Agony in the Garden" at the Prado Museum in Madrid exemplify his mastery in depicting religious narratives with profound emotion and technical sophistication.
Procaccini's journey through the art world was marked by his initial work as a sculptor, later transitioning to painting, where he left a lasting legacy. Commissioned to paint scenes commemorating the life of Cardinal Carlo Borromeo in Milan Cathedral, his style evolved to exhibit increased clarity and a brighter palette, indicative of his maturation as an artist. His exposure to the works of Rubens and his travels across Italy allowed him to absorb and reinterpret the stylistic elements of Caravaggio, Correggio, and Parmigianino, enriching his own artistic language.
Though not represented in London's National Gallery, Procaccini's paintings grace collections across Europe and beyond, with notable works in the north of England, including "The Mocking of Christ" at Museums Sheffield and "The Raising of the Cross" at the National Galleries of Scotland. These pieces demonstrate his skillful use of color and ability to convey the physical and emotional weight of biblical stories.
For collectors and experts in art and antiques, Giulio Cesare Procaccini represents a fascinating study in the transition from Mannerism to Baroque, embodying the emotional depth and innovative spirit of early 17th-century Italian art. His contributions to the Baroque period remain a testament to his versatility and enduring appeal.
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