^
Died on 18 May 1551: Domenico
di Pace “Beccafumi” il Mecherino (or Mecarino),
Sienese Mannerist
painter and sculptor born in 1486. He studied under il
Sodoma. — [Smokes in a corner?]
— Originally named Domenico di Pace, and also called Il Mecherino,
he took the name Beccafumi from his patron, a wealthy Sienese who sent him
to study in Siena and Rome. Beccafumi designed 35 splendid mosaics from
1517 to 1546 for the pavement in Siena Cathedral, each mosaic depicting
a different Old Testament scene. Beccafumi's best-known paintings are the
ceiling frescoes of the Palazzo Publico in Siena and an altarpiece in the
same building. True to the style of Mannerism, Beccafumi used light for
dramatic effects and created ethereal, wraithlike figures in fantastic settings.
His last years were devoted principally to sculpture, particularly to the
bronze figures of angels that he cast for the Siena Cathedral in about 1548.
Beccafumi was also a talented engraver and worked in both copper and wood
— Domenico di Pace, also called Il Mecherino, he took the name Beccafumi
from his patron, a wealthy Sienese who sent him to study in Siena and Rome.
he was, with Parmigianino,
the most interesting of the non-Florentine Mannerist
painters, and the last of the great Sienese. A member of the High Renaissance
generation, his years in Rome (1510-1512) saw the painting of Raphael's
Stanze and Michelangelo's
Sistine Ceiling, both of which influenced him. In such works as the St
Catherine Receiving the Stigmata (1515) he appears also to have been
affected by Fra
Bartolomeo, whose work was known in Siena. Soon after Beccafumi's return
to Siena in 1513 his highly personal style displays characteristics usually
associated with the Mannerism of the following decade; his use of strong
effects of perspective and contapposto, his intensity of emotion, and his
use of subtle, shot color, as well as of lurid effects of light, are all
stylistic features of central Italian painting of the 1530s and 1540s, which
he probably knew as a result of the dispersal of Roman artists after the
Sack of 1527. Beccafumi designed 35 splendid mosaics from 1517 to 1546 for
the pavement in Siena Cathedral, each mosaic depicting a different Old Testament
scene. Beccafumi's best-known paintings are the ceiling frescoes of the
Palazzo Publico in Siena and an altarpiece in the same building.
— Domenico Beccafumi took the name of a rich Sienese citizen who apprenticed
him to a local painter, but his father was really a peasant who worked for
the beneficent Beccafumi. The artist spent several years in Rome, where
he saw Raphael's and Michelangelo's works, and a trip to Florence exposed
him to Leonardo da Vinci's chiaroscuro. By 1514 Beccafumi was developing
characteristics usually associated with the Mannerism of the next decade,
creating both emotional and compositional tension and instability instead
of the balance and harmony more typical of Renaissance art. In the later
1520s he became official painter to the Sienese republic and decorated many
of Siena's churches with paintings and frescoe. Beccafumi also designed
mosaics and worked as a sculptor, wood engraver, and etcher. From the beginning,
Beccafumi's highly personal style was concerned with light: he made light
vibrate to convey emotion or spiritual illumination. He achieved his effects
through strong perspective and contrapposto, soft colors, and elongated,
elaborately intertwined figures.
— LINKS
— Trinity
(1513, 152x228cm, 1155x720pix, 174kb) _ In a theme that was majestically
treated by Masaccio a century earlier, Beccafumi does not retain an orderly
sense of scale for his figures, so that God the Father and the crucified
Christ are much smaller in relation to the side saints (Sts Cosmas and John
the Baptist at left, Sts John the Evangelist and Damian at right). All of
his figures seem to deny pure volumetric presence, this despite the fact
that Beccafumi was accomplished both as a bronze sculptor and painter. _
detail
(835x1020pix, 155kb) _ Oddly enough, Beccafumi's interpretation of this
noble theme, masterfully rendered by Masaccio and Andrea del Castagno a
century before, is here spatially compressed. Even where his figural modelling
implies volume, the impression is quickly suppressed. An indication of this
Sienese master's individualism which often borders on eccentricity may be
read in the interaction of the hands. Jesus' hands are flattened on the
Cross, while God's appear almost directly behind them, as if they were once
and will again be the same hands.
— St
Paul (1515, 190x150cm, 765x1100pix, 176kb) _ Often regarded as a 'Tuscan
Mannerist,' Beccafumi introduces brittle colors including strident greens
and sour yellows into his highly original figural vocabulary. In a painting
celebrating St Paul, identified by his sword, Beccafumi unveils his highly
linear approach. He seems to have rejected most of the lessons of Michelangelo,
and Raphael for that matter, in favour of a completely personal and frequently
eccentric interpretation.
— Birth
of the Virgin (1543, 233x145cm, 556x850pix, 104kb) _ Beccafumi was the
most interesting of the non-Florentine Mannerist painters. His death brought
to an end the long, and always emotionally directed, succession of great
Sienese painters. His years in Rome from 1510 to 1512 coincided with the
period of the Stanze and the Sistine ceiling; yet soon after his return
to Siena in 1513 his work displayed characteristics normally associated
with the Mannerism of the next decade.
— Stigmatization
of St Catherine of Siena (1515, 208x156cm, 810x1100pix, 138kb) _ This
is, arguably Beccafumi's masterpiece. Like Saint
Francis of Assisi [1182 – 03 Oct 1226] and, after him, 60 other
saints and blessed (not counting those who have not been officially recognized
as such), Saint
Catherine of Siena [25 Mar 1347 – 29 Apr 1380] miraculously receives
in her hands, feet, and heart, wounds duplicating those of the Crucified
Christ. Catherine appears on bent knee with palms extended, her youthful
face fixed upon the crucifix hanging on the wall. In this picture, light
acts as a concrete protagonist.
— a different Saint
Catherine of Siena Receiving the Stigmata (1513, 28x41cm) _ “I
saw our Lord fastened upon the cross coming down towards me and surrounding
me with a marvelous light...Then there came down from the holes of his blessed
wounds five bloody beams, which were directed towards the same parts of
my body: to my hands, feet, and heart”. This was how Saint Catherine
of Siena described receiving the Stigmata
at Pisa, on the fourth Sunday of Lent, 01 April 1375. In this panel, Catherine
is shown kneeling in a small chapel while other Dominicans wonder what is
overtaking her, since only she can see the miraculous vision. Another woman
sits on the stairs, lost in meditation. An altarpiece showing the Nativity
is in the background. Beccafumi effectively tells the story with a minimum
of detail. He uses a striking pose to demonstrate the ecstasy of the saint:
she bends forward as if to meet the tilting crucifix, her arms outstretched
to receive the stigmata. This panel and its companion, The Miraculous
Communion of Saint Catherine of Siena , were probably made for the
predella of an altarpiece dedicated to Saint Catherine.
— The
Miraculous Communion of Saint Catherine of Siena (1515, 28x41cm) _ Upon
arriving at church late one day because of her difficulty walking, Saint
Catherine was dissuaded by her companions from taking communion because
they knew her ensuing ecstasy would last for several hours. She concurred
but prayed for God's help in receiving the Eucharist. Miraculously, an angel
took a piece of the consecrated host and gave it to the saint. Celebrating
Mass at a side altar, her confessor looks around with concern for the missing
piece of the host. Neither he nor the others could see the miracle, so their
expressions reflect bewilderment.
— Tanaquil
(1519, 92x53cm, 494x888pix, 94kb) _ Tanaquil was influential in making her
husband and, after his assassination, her son-in-law, kings of Rome. _ The
painting is inscribed: SVM TANAQUIL BINOS FECI QVE PROVIDA REGES / PRIMA
VIRVM SERVVM FOEMINA DEINDE MEVM.
When the rule of the Bacchiadae in Corinth
was overthrown (657 BC) by the tyrant Cypselus, Demaratus, a Corinthian
noble, migrated to Tarquinii, Etruria, where he married into one of the
leading Etruscan families and had two sons, Aruns and Lucumo. Lucumo married
Tanaquil, a daughter of the Etruscan aristocracy and a prophetess of high
repute. At her urging he went to Rome, became a citizen, and took the name
Lucius Tarquinius Priscus. He rose to high position, and on the death of
Ancus Martius (616 BC) he either seized the Roman throne or was elected
to it by a coalition of Etruscan families. Priscus fought successfully against
the Sabines and subjugated all Latium to Rome. He is credited with the building
of the first Circus Maximus and the Forum. During his reign Etruscan influences
appeared in Roman politics, religion, and art. After a reign of 38 years
he was assassinated by the sons of Ancus Martius, who were involved in a
patrician plot attempting to limit the kingship to a religious role only.
Through the influence of Tanaquil, the plot was halted and the kingship
passed to Servius Tullius, her son-in-law. After a reign of 44 years, Tullius
was murdered by the son of Priscus and Tanaquil, Lucius Tarquinius Superbus
(Tarquin the Proud), who thereupon seized the throne.
— Marcia
(1520) (92x53cm) _ ME CATO COGNOVIT
VIR MOX HORTENSIVS ALTER. / DEINDE CATONIS EGO MARTIA NVPTA FVI.
Marcia was the wife of Cato, who ceded her to his friend Hortensius. After
Hortensius' death, she returned to Cato.
Both this painting and Tanaquil
are part of a series of works representing famous women of antiquity. Like
Mantegna's Tuccia and A Woman Drinking, they were no doubt
incorporated into the furniture of a room.
According to the Cato
the Younger chapter in Bioi Paralleloi of Plutarch [0046-0120+]:
Cato's own wife Atilia was not free from [incontinency]; and after she had
borne him two children, he was forced to put her away for her misconduct.
After that, he married Marcia, the daughter of Philippus, a woman of good
reputation, who yet has occasioned much discourse; and the life of Cato,
like a dramatic piece, has this one scene or passage full of perplexity
and doubtful meaning. Among many that loved and admired Cato, some were
more remarkable and conspicuous than others. Of these was Quintus Hortensius,
a man of high repute and approved virtue, who desired not only to live in
friendship and familiarity with Cato, but also to unite his whole house
and family with him by some sort or other of alliance in marriage. Therefore
he set himself to persuade Cato that his daughter Porcia, who was already
married to, Bibulus, and had borne him two children, might nevertheless
be given to him, as a fair plot of land, to bear fruit also for him. "For,"
said he, "though this in the opinion of men may seem strange, yet in nature
it is honest, and profitable for the public that a woman in the prime of
her youth should not lie useless, and lose the fruit of her womb, nor, on
the other side, should burden and impoverish one man, by bringing him too
many children. Also by this communication of families among worthy men,
virtue would increase, and be diffused through their posterity; and the
commonwealth would be united and cemented by their alliances." Yet if Bibulus
would not part with his wife altogether, he would restore her as soon as
she had brought him a child, whereby he might be united to both their families.
Cato answered, that he loved Hortensius very well, and much approved of
uniting their houses, but he thought it strange to speak of marrying his
daughter, when she was already given to another. Then Hortensius, turning
the discourse, did not hesitate to speak openly and ask for Cato's own wife,
for she was young and fruitful, and he had already children enough. Neither
can it be thought that Hortensius did this, as imagining Cato did not care
for Marcia; for, it is said, she was then with child. Cato, perceiving his
earnest desire, did not deny his request, but said that Philippus, the father
of Marcia, ought also to be consulted. Philippus, therefore, being sent
for, came; and finding they were well agreed, gave his daughter Marcia to
Hortensius in the presence of Cato, who himself also assisted at the marriage.
This was done at a later time.
— The
Holy Family with Young Saint John (1530, round 84 cm diam., 545x550pix,
60kb) _ Beccafumi is very important Sienese painter who, through the influence
of Michelangelo, and of Leonardo and Raphael through the medium of Sodoma,
and not without a knowledge of the northerners, achieves a highly original
stylistic conception, which is among the most fanciful of the whole Mannerism.
It is based upon a liquid coloring which melts under the impact of light
and upon an undulating and serpentine linearism. [huh?]
— Moses
and the Golden Calf (1537, 197x139cm, 774x1110pix, 150kb) _ Late in
his career, Beccafumi executed an important series of paintings for the
venerable Cathedral of Pisa. Moses and the Golden Calf is disturbing in
its originality because the figures have become increasingly thin, diaphanous,
and dependent upon silhouette and outline to achieve convincing form. Scale
is unconventional and has little significance by normal usage. Moses, holding
the tablets, stands in a contorted pose and looks disapprovingly at the
miniaturized golden calf nearby. The sharply foreshortened nude youth in
the left foreground is difficult to interpret.
— The
Annunciation (1545, 914x950pix, 112kb) _ In the closing years of his
career, Beccafumi tended to rein in his more extravagant ideas and also
went back to painting calmer compositions that create a sense of silent
intimacy. However, he never gave up his unmistakable and extraordinarily
rich use of color nor his love of grading the tone in his pictures from
parts that were brilliantly bathed in warm light through to very dark areas.
— Fall
of the Rebellious Angels (1545, 347x227cm, 723x1100pix, 133kb) _ This
spectacular and grandiloquent painting was produced during the period Beccafumi
was closest to Michelangelo whose Last Judgment was only recently finished
when Beccafumi painted this panel. While the elongated muscular nudes recall
the nudes of Michelangelo, in terms of appearance there is little formal
connection between the two artists. The confusion of the scene suggests
that the picture is probably unfinished, and a satisfying solution may have
eluded the artist.
— Madonna
with the Infant Christ and St John the Baptist (1540, 90x65cm, 802x1164pix,
135kb) _ Art historians have dated this unfinished work to between the late
1530's and the early 1540's on the basis of close stylistic correspondences
between it and the Nativity of the Virgin (now in the Pinacoteca in Siena),
one of Beccafumi's most famous paintings. The connections between this painting
and the influence of Leonardo da Vinci have been pointed out. In the seventeenth-century
Barberini art inventories it was listed as a Madonna Lactans alternately
attributed to Leonardo or to one of his followers, an error that indicates
the importance of Leonardo as an influence on Beccafumi. The correct attribution
appears only in an 1817 inventory.
— Saint
Lucy (1521, 720x1040pix, 77kb) |
Gérard was born in the Provençal town of Grasse. Her interest in art was
shaped by her brother-in-law, the popular rococo painter Jean-Honoré Fragonard,
beginning in 1775, when she moved to Paris to live with her sister's family.
As part of the Fragonard household, Gérard had considerable financial freedom,
along with the opportunity to further her artistic training as her brother-in-law's
unofficial apprentice. By her mid-twenties Gérard had developed her signature
style, which featured painstakingly accurate details rendered with subtly
blended brush strokes, both traits borrowed from 17th-century Dutch genre
specialists, notably Gabriel Metsu. Gérard's work is not only technically
impressive but also practical: these relatively small-scale, portable canvases
were designed to appeal to wealthy collectors who preferred to display in
their homes meticulously painted still lifes and genre scenes rather than
large history paintings. The numerous engraved versions of Gérard's paintings
made them accessible to less affluent art lovers and helped increase her
reputation. 
