fbpx
Wikipedia

Moretto da Brescia

December 01, 2023

Alessandro Bonvicino (also Buonvicino) (c. 1498 – possibly 22 December 1554), more commonly known as Moretto, or in Italian Il Moretto da Brescia (the Moor of Brescia), was an Italian Renaissance painter from Brescia, where he also mostly worked. His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona, and Asola; many remain in the churches they were painted for. Most are on canvas, but a number even of large ones are on wood panel. Only a handful of drawings survive.[1]

Moretto da Brescia
Portrait of Moretto da Brescia, by Carlo Ridolfi (1654)
Born
Alessandro Bonvicino

c. 1498
Rovato, Italy
DiedDecember 1554
NationalityItalian
Known forPainting
MovementHigh Renaissance
St. Justina, adored by the donor
Kunsthistorisches Museum, Vienna.
Nicholas of Bari with two children and Virgin.

He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full length, all the more unexpected as the subject, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family. This format, and the background of an exterior largely closed off by a column the man leans on, was taken up by his main assistant Giovanni Battista Moroni, who painted mainly portraits and was one of the most important portraitists of the mid-16th century.[2]

He was a prominent and pious citizen of the small city of Brescia, belonging to at least two of the most prominent confraternities.[3]

Biography edit

He was born at Rovato, in Brescian territory, and studied first under Fioravante Ferramola.[4] Others state he trained with Vincenzo Foppa. His brothers Pietro and Jacopo were also painters. He may have been apprenticed to Titian in Venice and modelled his earlier portrait-painting on the Venetian style.[5] On the other hand, the style also resembles that of Giorgione or late Bellini. He conceived a great enthusiasm for Raphael, though he never travelled to Rome;[5] on the other hand, his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as Bramantino.[6] He may have consulted with his contemporary Girolamo Savoldo.[7] Moretto excelled more in sedate altarpieces than in narrative action, and more in oil painting than in fresco, although he painted fine frescoes depicting the idle daughters of Count Martinengo in one of the palaces near Brescia.[4] In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the Old Cathedral of Brescia, where Moretto completed a Last Supper, Elijah in the Desert, and a Fall of Manna.[7] He was active during 1522–1524 in Padua.

 
Portrait of a Man, National Gallery, 1526, the earliest Italian full-length portrait

He painted alongside Lorenzo Lotto at Santa Maria Maggiore in Bergamo. In Brescia, he completed a Five Virgin Martyrs and his masterpiece, the Assumption of the Madonna for the church of San Clemente; a Coronation of the Madonna with four saints (c. 1525) for the church of Santi Nazaro e Celso; and a St Joseph for Santa Maria delle Grazie. Another work, with two small children depicted, is his canvas of St Nicholas of Bari presenting two children to Virgin (1539) originally painted for the church of Santa Maria dei Miracoli, but now in the Pinacoteca Tosio Martinengo. He collaborated with Floriano Ferramola in the decoration of the dome of Brescia Cathedral.

In the Kunsthistorisches Museum, Vienna is a St Justina (once ascribed to Il Pordenone); in the Staedel Museum, Frankfurt, the Madonna Enthroned between Sts. Anthony and Sebastian; in the Berlin Museum, a colossal Adoration of the Shepherds, and a large votive picture (one of the master's best) of the Madonna and Child, with infant angels and other figures above the clouds, and below, amid a rich landscape, two priests; in the National Gallery, Central London, is a St Bernardino and Other Saints.[4] Throughout his career his works display an internal oscillation between the traditions of Venetian painting and the Central Italian schools. Simultaneously he looked at the form and colour of Venetian artists such as Titian and Palma the Elder whilst his classicising, sweet intensity earned him the name "Raphael of Brescia". Though there is some uncertainty regarding his studio, he took on a number of pupils, the most important of whom was the portraitist Giovanni Battista Moroni. He also influenced Callisto Piazza.

Il Moretto was stated to have been a man of great personal piety, preparing himself by prayer and fasting for any great act of sacred art, such as the painting of the Virgin-mother.[4]

Public collections edit

Moretto is represented in the following collections: National Gallery, London; Metropolitan Museum, New York; Hermitage, St. Petersburg; Kunsthistorisches Museum, Vienna; Staedel Museum, Frankfurt; Gallerie dell'Accademia, Venice; Pinacoteca Tosio Martinengo, Brescia (Annunciation); Pinacoteca Ambrosiana, Milan; National Gallery of Art, Washington; Louvre, Paris; Ashmolean Museum, Oxford; Museum of Fine Arts, Budapest, amongst others.

Further works edit

Works edit

References edit

  1. ^ Penny 2004, pp. 145–147.
  2. ^ Penny 2004, pp. 154–156.
  3. ^ Penny 2004, p. 145.
  4. ^ a b c d   One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Moretto, Il". Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. p. 831.
  5. ^ a b Chisholm 1911.
  6. ^ Freedberg 1993, p. 367.
  7. ^ a b Freedberg 1993, p. 368.

Sources edit

  • Freedberg, Sydney J. (1993). Painting in Italy, 1500–1600. Penguin Books. pp. 367–373.
  • Hartt, Frederick, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104
  • Penny, Nicholas (2004). The sixteenth century Italian paintings. Vol. I. London: National Gallery Co. ISBN 1-85709-908-7. OCLC 57388272.

Further reading edit

  • Federico Nicoli Cristiani (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. 139–141.
  • Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Brescia (see index)

  Media related to Moretto da Brescia at Wikimedia Commons

December 01, 2023
moretto, brescia, alessandro, bonvicino, also, buonvicino, 1498, possibly, december, 1554, more, commonly, known, moretto, italian, moor, brescia, italian, renaissance, painter, from, brescia, where, also, mostly, worked, dated, works, span, period, from, 1524. Alessandro Bonvicino also Buonvicino c 1498 possibly 22 December 1554 more commonly known as Moretto or in Italian Il Moretto da Brescia the Moor of Brescia was an Italian Renaissance painter from Brescia where he also mostly worked His dated works span the period from 1524 to 1554 but he was already described as a master in 1516 He was mainly a painter of altarpieces that tend towards sedateness mostly for churches in and around Brescia but also in Bergamo Milan Verona and Asola many remain in the churches they were painted for Most are on canvas but a number even of large ones are on wood panel Only a handful of drawings survive 1 Moretto da BresciaPortrait of Moretto da Brescia by Carlo Ridolfi 1654 BornAlessandro Bonvicinoc 1498 Rovato ItalyDiedDecember 1554NationalityItalianKnown forPaintingMovementHigh RenaissanceSt Justina adored by the donor Kunsthistorisches Museum Vienna Nicholas of Bari with two children and Virgin He also painted a few portraits but these are more influential A full length Portrait of a Man in the National Gallery London dated 1526 seems to be the earliest Italian independent portrait at full length all the more unexpected as the subject though clearly a wealthy nobleman shows no sign of being from a princely ruling family This format and the background of an exterior largely closed off by a column the man leans on was taken up by his main assistant Giovanni Battista Moroni who painted mainly portraits and was one of the most important portraitists of the mid 16th century 2 He was a prominent and pious citizen of the small city of Brescia belonging to at least two of the most prominent confraternities 3 Contents 1 Biography 2 Public collections 3 Further works 4 Works 5 References 6 Sources 7 Further readingBiography editHe was born at Rovato in Brescian territory and studied first under Fioravante Ferramola 4 Others state he trained with Vincenzo Foppa His brothers Pietro and Jacopo were also painters He may have been apprenticed to Titian in Venice and modelled his earlier portrait painting on the Venetian style 5 On the other hand the style also resembles that of Giorgione or late Bellini He conceived a great enthusiasm for Raphael though he never travelled to Rome 5 on the other hand his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as Bramantino 6 He may have consulted with his contemporary Girolamo Savoldo 7 Moretto excelled more in sedate altarpieces than in narrative action and more in oil painting than in fresco although he painted fine frescoes depicting the idle daughters of Count Martinengo in one of the palaces near Brescia 4 In 1521 he worked with Girolamo Romanino in the Cappella del Sacramento in the Old Cathedral of Brescia where Moretto completed a Last Supper Elijah in the Desert and a Fall of Manna 7 He was active during 1522 1524 in Padua nbsp Portrait of a Man National Gallery 1526 the earliest Italian full length portraitHe painted alongside Lorenzo Lotto at Santa Maria Maggiore in Bergamo In Brescia he completed a Five Virgin Martyrs and his masterpiece the Assumption of the Madonna for the church of San Clemente a Coronation of the Madonna with four saints c 1525 for the church of Santi Nazaro e Celso and a St Joseph for Santa Maria delle Grazie Another work with two small children depicted is his canvas of St Nicholas of Bari presenting two children to Virgin 1539 originally painted for the church of Santa Maria dei Miracoli but now in the Pinacoteca Tosio Martinengo He collaborated with Floriano Ferramola in the decoration of the dome of Brescia Cathedral In the Kunsthistorisches Museum Vienna is a St Justina once ascribed to Il Pordenone in the Staedel Museum Frankfurt the Madonna Enthroned between Sts Anthony and Sebastian in the Berlin Museum a colossal Adoration of the Shepherds and a large votive picture one of the master s best of the Madonna and Child with infant angels and other figures above the clouds and below amid a rich landscape two priests in the National Gallery Central London is a St Bernardino and Other Saints 4 Throughout his career his works display an internal oscillation between the traditions of Venetian painting and the Central Italian schools Simultaneously he looked at the form and colour of Venetian artists such as Titian and Palma the Elder whilst his classicising sweet intensity earned him the name Raphael of Brescia Though there is some uncertainty regarding his studio he took on a number of pupils the most important of whom was the portraitist Giovanni Battista Moroni He also influenced Callisto Piazza Il Moretto was stated to have been a man of great personal piety preparing himself by prayer and fasting for any great act of sacred art such as the painting of the Virgin mother 4 Public collections editMoretto is represented in the following collections National Gallery London Metropolitan Museum New York Hermitage St Petersburg Kunsthistorisches Museum Vienna Staedel Museum Frankfurt Gallerie dell Accademia Venice Pinacoteca Tosio Martinengo Brescia Annunciation Pinacoteca Ambrosiana Milan National Gallery of Art Washington Louvre Paris Ashmolean Museum Oxford Museum of Fine Arts Budapest amongst others Further works edit nbsp Portrait of Fortunato Martinengo Cesaresco 1542 London National Gallery nbsp The Holy Family with Saint Anthony of Padua oil on panel nbsp Posthumous portrait of Girolamo Savonarola 1524Works editEnthroned Madonna and Child with Saint James the Great and Saint Jerome 1517 Christ with the Cross 1518 The Dead Christ Adored by Saint Jerome and Saint Dorothy 1520 1521 Holy Cross Standard 1520 1521 Standard of Our Lady of Mercy 1520 1522 Salvation Triptych 1521 1524 or 1527 1528 Our Lady of Mount Carmel c 1522 Assumption of the Virgin 1524 1526 Orzinuovi Altarpiece 1525 1530 Portrait of a Man 1526 Lament over the Dead Christ 1526 1530 Sant Eufemia Altarpiece 1526 1530 Supper at Emmaus c 1526 Madonna and Child with Saint Roch and Saint Sebastian c 1528 Assumption Altarpiece 1529 1530 St Anthony of Padua with Two Saints 1530 Saint Anthony Abbot 1530 1534 St Justina of Padua with a Donor c 1530 Madonna and Child with Saint Martin and Saint Catherine c 1530 Massacre of the Innocents 1531 1532 Coronation of the Virgin Altarpiece c 1534 The Deaf Mute Filippo Viotti s Vision of the Virgin Mary c 1534 Annunciation 1535 1540 The Assassination of Saint Peter Martyr 1535 1540 Portrait of a Gentleman with a Letter 1535 1540 Chiesa di San Giovanni Evangelista Organ Case c 1535 Madonna and Child Enthroned with Saints 1536 1537 Rovelli Altarpiece 1539 Adoration of the Shepherds with Saints Nazarius and Celsus 1540 Salome 1540 Madonna and Child with Saints Verona 1540 Pralboino Altarpiece 1540 1545 Christ in Glory with Saint Peter and Saint Paul c 1540 Christ with the Eucharist and Saints Cosmas and Damian c 1540 Madonna and Child with Four Doctors of the Church c 1540 1545 Madonna and Child with Saints London c 1540 1545 Madonna and Child with an Angel c 1540 1550 Christ with Moses and Solomon 1541 1542 Portrait of Fortunato Martinengo Cesaresco 1542 Luzzago Altarpiece 1542 Mystic Marriage of Saint Catherine c 1543 Pentecost 1543 1544 Madonna and Child with Four Saints c 1543 Supper in the House of Simon the Pharisee 1544 Portrait of an Ecclesiastic c 1545 Christ with the Eucharist and Saints Bartholomew and Roch c 1545 Christ and the Angel c 1550 References edit Penny 2004 pp 145 147 Penny 2004 pp 154 156 Penny 2004 p 145 a b c d nbsp One or more of the preceding sentences incorporates text from a publication now in the public domain Chisholm Hugh ed 1911 Moretto Il Encyclopaedia Britannica Vol 18 11th ed Cambridge University Press p 831 a b Chisholm 1911 Freedberg 1993 p 367 a b Freedberg 1993 p 368 Sources editFreedberg Sydney J 1993 Painting in Italy 1500 1600 Penguin Books pp 367 373 Hartt Frederick History of Italian Renaissance Art 2nd edn 1987 Thames amp Hudson US Harry N Abrams ISBN 0500235104 Penny Nicholas 2004 The sixteenth century Italian paintings Vol I London National Gallery Co ISBN 1 85709 908 7 OCLC 57388272 Further reading editFederico Nicoli Cristiani 1807 Della Vita delle pitture di Lattanzio Gambara Memorie Storiche aggiuntevi brevi notizie intorno a piu celebri ed eccelenti pittori Bresciani Spinelli e Valgiti Brescia pp 139 141 Painters of reality the legacy of Leonardo and Caravaggio in Lombardy an exhibition catalog from The Metropolitan Museum of Art fully available online as PDF which contains material on Brescia see index nbsp Media related to Moretto da Brescia at Wikimedia Commons Portals nbsp Painting nbsp Visual arts Retrieved from https en wikipedia org w index php title Moretto da Brescia amp oldid 1167686587, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.