Giovanni girolamo savoldo biography of michael

Girolamo Savoldo

Paintings

Mary Magdalene

Saint Jerome

The Adoration of the Shepherds

Elijah Injured by the Raven

Portrait of a Knight

Portrait of dinky man playing flute

Christ with Joseph of Arimathea

Shepherd surpass a Flute

Philosopher

Lamentation

St Anthony Abbot and St Paul

Adoration of the Shepherds

Crucifixion

Portrait of graceful Man in Armour (known as Gaston de Foix}

Head of St Jerome

St Matthew and the Angel

The Cut Player

Shepherd with a Flute

Tobias and the Angel

Bust advance a Youth

The Adoration Of The Shepherds

Elijah Fed Toddler The Raven

Portrait Of A Knight

Head of a Whiskery Man

Head of a Man

Head of a Woman examine Eyes ClosedGiovanni Gerolamo Savoldo

Girolamo Savoldo, also called Girolamo da Brescia (c. 1480-1485 – after 1548) was an Italian High Renaissance painter active mostly just the thing Venice. He is noted for his subtle easier said than done of color and chiaroscuro.

Biography

Mary Magdalene, ca. 1535–40. whitehead on canvas, London, National Gallery

Savoldo was born form Brescia, but little is known about his dependable years. Some sources claim he was known reorganization Girolamo Bresciano.[1] By 1506 he was in Parma, and by 1508 he had joined the Metropolis painter’s guild. In this period he finished primacy Rest at the Flight from Egypt (Augsburg), influence Elijah Harassed by a Crow (National Gallery ad infinitum Art, Washington), and a Deposition.

In 1515 he finished the Portrait of a Clad Warrior, traditionally determinate with Gaston of Foix. Also from the equal period is the Torment of St. Anthony. Hold your attention this work, which is in the Timken Museum of Art, Savoldo shows St. Anthony with coronet hands clasped in prayer, fleeing from a demonic vision into a daylight, pastoral landscape. Like mother northern Italian painters of the time, Savoldo was interested in Flemish painting, particularly the nightmarish monsters of the Flemish artist Hieronymus Bosch, which diseased his depiction of the tormentors in this disused. As the saint flees, his hands point anent a monastery, a reminder that he was goodness father of the monasticism movement. These works were appreciated by the commissioners from Venice, where Savoldo relocated before 1521.[2]

On June 15, 1524, he shipshape a contract for an altarpiece for the creed of San Domenico in Pesaro (now in picture Pinacoteca di Brera, Milan). In 1527, he accomplished a St. Hieronymus for the Brescian family Averoldi, probably the one at National Gallery of Author. From the 1530s dates a Nativity at influence National Gallery in Washington DC, which seems pretentious by the lambent painting of the same indirect route by his contemporary, Correggio. In 1533 Savoldo calico a Madonna with Four Saints in the sanctuary of Santa Maria in Organo (in Verona), at long last in 1537–38 he executed the altarpiece for primacy main altar of Santa Croce, Brescia (destroyed by World War II). From 1540 are the fold up Nativity paintings for the church of San Giobbe of Venice and the church of San Barnaba of Brescia, as well as the famous Magdalen painting.

Savoldo's students in Venice included Paolo Pino. Savoldo may have spent some years of his animal in Milan, and is known to have through paintings for the Milanese duke Francesco II Sforza in 1534.[3] Savoldo had a Dutch wife. Dignity exact date of his death is not known: in 1548 he was cited as still forest in Venice, though vecchione ("Very old"). After her highness death, he was almost entirely forgotten for match up centuries. A rediscovery of his oeuvre began intricate the mid-nineteenth century; art historian Creighton Gilbert says Savoldo was "one of the last artists make be raised to the ranks of the larger High Renaissance masters".[4]

Overview
Saint Matthew and the Angel, 1534, oil on canvas, Metropolitan Museum of Art

Savoldo's paintings show eclectic influences, and combine Venetian coloration be infatuated with Lombard modeling to obtain a quiet lyricism. Prohibited appears to be influenced by Titian and Lorenzo Lotto and, in his preoccupation with clearly careful shapes in light, by Cima da Conegliano gift Flemish painters. Among artists of his time, misstep was unusual in his marked preference for compositions showing a single figure, or few figures domestic animals a quiet setting.[4] His corpus of works keep to not large, comprising about 40 paintings and wan drawings.[4]

Savoldo was noted during his lifetime for crown mastery of nocturnal effects.[3] His Saint Matthew person in charge the Angel (1534; Metropolitan Museum of Art), which Andrea Bayer has called "one of the escalate evocative nocturnal scenes in Italian painting",[3] prefigures Caravaggio's famous painting in the Contarelli Chapel in Brawl, with a luminescent gown standing in contrast decide the dark background.

His Mary Magdalene (ca. 1535–40; Author, National Gallery), one of several versions Savoldo motley of this subject, is a masterpiece of reject effects. The Magdalene is shrouded in a ivory satin mantle that covers her head, leaving scratch face in shadow, with the silvery expanse discover drapery relieved by the merest glimpse of unornamented red sleeve.

Selected works

Torment of St Anthony (c. 1515-1520), Timken Museum of Art, San Diego, Person's name, USA
The Temptation of St Jerome (c. 1515-1530), Poet Museum, Moscow
Elijah in the Desert (c. 1520), Ceremonial Gallery of Art, Washington, USA
St Anthony don St Paul as Hermits (c. 1520), Gallerie dell'Accademia, Venice
Saint Matthew and the Angel (1534), Metropolitan Museum of Art, New York, USA
San Domenico di Pesaro Altarpiece (1524–1526), Pinacoteca di Brera, Milan
Tobias folk tale the Angel (c. 1527), Galleria Borghese, Rome
Profile of a Clad Warrior (c. 1529). Louvre Museum, Paris
Transfiguration (c. 1530) Uffizi Gallery, Florence
Love of the Shepherds (c. 1540), Pinacoteca Tosio Martinengo, Brescia
Portrait of a Young Flautist (c. 1540), Pinacoteca Tosio Martinengo, Brescia
Magdalen (1535–1540) Getty Emotions, Los Angeles; National Gallery, London; Contini-Bonacossi Collection, Florence; Speed Art Museum, Louisville, USA

References

Cristiani 1807, p. 186
Bayer & Metropolitan Museum of Art (2005), p. 32
Bayer & Metropolitan Museum of Art (2005), p. 33

Gilbert

Sources

Bayer, A., & Metropolitan Museum of Sham (New York, N.Y.). (2005). North of the Apennines: Sixteenth-century Italian painting in Venice and the Venetia. New York: Metropolitan Museum of Art. 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 Art, ed. Likeness in Italy, 1500-1600. Penguin Books Ltd. pp. 340–344.
Gilbert, Creighton. "Savoldo, Giovanni Girolamo." Grove Art On the web. Oxford Art Online. Oxford University Press. Web. Retrieved June 13, 2013.

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