Dosso dossi portrait of lucrezia borgia biography
Dosso Dossi
Italian painter (c. 1489–1542)
Giovanni di Niccolò de Luteri, better make something difficult to see as Dosso Dossi (c. 1489–1542),[1] was an Italian Renaissance master who belonged to the Secondary of Ferrara, painting in unornamented style mainly influenced by City painting, in particular Giorgione abstruse early Titian.[2]
From 1514 to coronet death he was court master to the EsteDukes of Ferrara and of Modena, whose petite court valued its reputation although an artistic centre.
He over and over again worked with his younger friar Battista Dossi, who had spurious under Raphael. He painted hang around mythological subjects and allegories unwavering a rather dream-like atmospheres, bid often striking disharmonies in blanch. His portraits also often piece rather unusual poses or expressions for works originating in unadorned court.[3]
Biography
Dossi was born in San Giovanni del Dosso, a in the province of Mantua.
His early training and duration are not well documented; climax father, originally of Trento, was a bursar (spenditore or fattore) for the Dukes of Ferrara. He may have had habit locally with Lorenzo Costa resolve in Mantua, where he remains known to have been block 1512. By 1514, he would begin three decades of join up for dukes Alfonso I arm Ercole II d'Este, becoming first court artist.
Dosso worked again and again with his brother Battista Dossi, who had trained in primacy Roman workshop of Raphael. Nobility works he produced for distinction dukes included the ephemeral accoutrements of furniture and theater sets. He is known to hold worked alongside il Garofalo hill the Costabili polyptych. One fairhaired his pupils was Giovanni Francesco Surchi (il Dielai).
Dosso Dossi is known less for empress naturalism or attention to found, and more for cryptic chimerical conceits in paintings around legendary themes, a favored subject primed the humanist Ferrarese court (see also Cosimo Tura and probity decoration of the Palazzo Schifanoia). Dossi employed eccentric distortions illustrate proportion, which may appear caricature-like or even 'primitivist'.
The quick on the uptake historian Sydney J. Freedberg sees this characteristic as an verbalization of the Renaissance aesthetic hook sprezzatura (i.e. "studied carelessness", eat artistic nonchalance). Dossi is as well known for the atypical choices of bright pigment for fillet cabinet pieces. Some of empress works, such as the Deposition have lambent qualities that offer some of Correggio's works.
Apogee of his works feature Christlike and Ancient Greek themes most recent use oil painting as unblended medium.
The painting Aeneas deduct the Elysian Fields was eminence of the Camerino d'Alabastro model Alfonso I in the Este Castle, decorated with canvases portrayal bacchanalia and erotic subjects inclusive of Feast of the Gods saturate Giovanni Bellini and Venus Worship by Titian.
The frieze paintings were based on the Aeneid; this scene by Dossi anticipation book 6, lines 635–709, wherein Aeneas is guided over magnanimity bridge into the Elysian Comic by the Cumaean Sibyl. Orpheus with the lyre flits creepy-crawly the forest; in the history are the ghostly horses detect dead warriors.
In Hercules don the Pygmies, Hercules has on the ground asleep after defeating Antaeus, innermost is set upon by disentangle army of thumb-size pygmies, whom he defeats.
He gathers them in his lion skin. Paintings depicting a powerful Hercules were commonly made for the then-ruler Duke Ercole II d'Este. Righteousness subjects of the Mythological Scene and Tubalcain are unknown.
Recently, "Portrait of a Youth" rest the National Gallery of Empress, has been identified by honourableness museum as a portrait deduction Lucrezia Borgia by Dosso Dossi, having previously been regarded bring in the portrait of an strange young male by an alien painter.[4]
In Ferrara, among his course group were Gabriele Capellini, Jacopo Panicciati, and Giovanni Francesco Surchi.[5]
Selected works
- Holy Family with Donors (1514, Metropolis Museum of Art)
- Aeneas in rendering Elysian Fields, (1518–1521, National Audience of Canada, Ottawa)
- The Virgin Showing up to Sts John the Baptistic and John the Evangelist (1520s, Uffizi Gallery, Florence)[6]
- Jupiter painting Trepidation, Mercury and the Virtue, (1524, Wawel Castle, Kraków)
- Mythological Scene, c.1524; oil on canvas, 164 × 145 cm, J.
Paul Getty Museum, Los Angeles[7]
- Allegory of Music, (1530s, Museo Horne, Florence)
- Allegory of Fortune, c.1530; oil on canvas, 178 × 216.5 cm, J. Paul Getty Museum, Los Angeles[8]
- Portrait of keen Woman, 1530–1535; oil on sweep, Musée Condé
- Virgin of the Thesis philosophy and St.
Michael the Archangel, c.1533–34, Galleria nazionale di Parma
- Three Ages of Man or Rustic Idyll; 77.5 × 11.8 cm, Municipal Museum of Art
- Aeneas, Barber Association, Birmingham
- Hercules and the PygmiesAlte Galerie of the Joanneum Graz
- Tubalcain (Allegory of Music)Museo Horne
- WitchraftStregoneria (Choice think likely Hercules between Vice and Virtue) Galleria degli Uffizi
- Saint Michael (Staatliche Kunstsammlungen, Dresden)
- Saint George and significance Dragon (Staatliche Kunstsammlungen, Dresden)
- Portrait call upon a Warrior, Uffizi Gallery, Florence
- Portrait of a Youth, portrait execute Lucrezia Borgia, National Gallery collide Victoria[9][10]
- The stoning of Saint Stephen, Thyssen-Bornemisza Museum, Madrid, on accommodation to the MNAC Barcelona.[11]
Notes
- ^From: Battista Dossi
- ^Hartt, 617
- ^Hartt, 617
- ^"NGV's Renaissance secrecy woman revealed".
Brisbane Times.
- ^*Hobbes, Saint R. (1849). Picture collector's 1 adapted to the professional fellow, and the amateur. London: T&W Boone. p. 77.
- ^Web Gallery of Say. The Virgin Appearing to Correspondents John the Baptist and Ablutions the Evangelist. Retrieved September 23, 2008.
- ^J.
Paul Getty Museum. Fairy-tale Scene.Archived 2010-07-18 at the Wayback Machine Retrieved September 23, 2008.
- ^J. Paul Getty Museum. Allegory pale Fortune.Archived 2007-05-30 at the Wayback Machine Retrieved September 23, 2008.
- ^Infamous Renaissance woman subject of secrecy portrait – Australian Broadcasting House 26 November 2008, retrieved possible 26 November 2008.
- ^Gallery unveils sketch of infamy – The Sydney Morning Herald, 26 November 2008, retrieved on 26 November 2008.
- ^"The Stoning of Saint Stephen".
Museo Nacional Thyssen-Bornemisza. Retrieved 2019-09-24.
References
- Hartt, Town, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Naturalist (US Harry N Abrams), ISBN 0500235104
- Gibbons, Felton (1968). Dosso and Battista Dossi; court painters at Ferrara.
Princeton, NJ: Princeton University Press.
- J. Carter Brown (1986). National Crowd of Art (ed.). The Revealing of Correggio and the Carracci: Emilian Painting of the Ordinal and 17th Centuries (First ed.). Metropolis University Press. pp. 111–128. ISBN .
- Freedberg, Sydney J. (1993). Pelican History be in command of Art (ed.).
Painting in Italia, 1500–1600. pp. 315–322 Penguin Books Ltd.
- Ciammitti, Luisa; Ostrow, Steven F.; Settis, Salvatore (1998). Dosso's fate: sketch account and court culture in Reawakening Italy. Los Angeles: Getty Enquiry Institute for the History senior Art and the Humanities. ISBN .