Giacobbe Giusti, VINCENZO FOPPA: Boy Reading Cicero, Wallace Collection, London

Giacobbe Giusti, VINCENZO FOPPA: Boy Reading Cicero, Wallace Collection, London

Giacobbe Giusti, Vincenzo Foppa
Virgin of the Book c. 1475, Milan
Born	Vincenzo Foppa c. 1427-30 Bagnolo Mella, Italy
Died	c. 1515-16 Brescia, Italy
Nationality	Italian
Notable work	Crucifixion Portinari Chapel The Young Cicero Reading Adoration of the Kings
Movement	Italian Renaissance

Vincenzo Foppa (c. 1427 – c. 1515) was an Italian painter from the Renaissance period. While few of his works survive, he was an esteemed and influential painter during his time and is considered the preeminent leader of the Early Lombard School. He spent his career working for the Sforzafamily, Dukes of Milan, in Pavia, as well as various other patrons throughout Lombardy and Liguria. He lived and worked in his native Brescia during his later years.

Early life

Very little is known about the early life and training of Foppa. He was born in Bagnolo Mella, a small commune near the city of Brescia. At the time, there were few esteemed painters in the region, and the art scene in Brescia was lacking. It is therefore likely that Foppa had to seek artistic training elsewhere. Some of his earliest exposures to art were likely frescoes painted by Gentile da Fabriano in the Broletto Chapel in Brescia and the woven Annunciation by Jacopo Bellini. The latter artist was one of the strongest influences on him, and it is possible that Foppa was directly apprenticed to Bellini. He also may have been apprenticed to Bonifacio Bembo. Some historians suggest that Foppa may have had early training in Padua with Francesco Squarcione, though his earliest works are more stylistically reminiscent of Pisanello and Gentile da Fabriano. It is most likely that Foppa went to Verona for his training.^[1]

Notable Works

• Madonna and Child with Angels, c.1450, Florence, Berenson Collection
• Crucifixion, 1456, Bergamo, Accademia Carrara
• St. Jerome Penitent, c.1460, Bergamo, Accademia Carrara
• Madonna of the Book, 1460-1468, Milan, Pinacoteca del Castello Sforzesco
• Madonna and Child, 1460-1470, Berlin, Staatliche Museen
• Boy Reading Cicero, c.1464, London, Wallace Collection
• Frescoes of the Portinari Chapel, 1464–1468, Milan, Basilica of Sant’Eustorgio
  • Four Doctors of the Church
  • Eight Busts of Saints
  • Four Scenes from the Life of St. Peter Martyr :
    • Cloud Miracle
    • Miracle of the False Madonna
    • Miracle of Narni
    • Martyrdom of Saint Peter of Verona
  • Annunciation
  • Assumption of the Virgin
• St. Augustine, 1465-1470, Milan, Pinacoteca del Castello Sforzesco
• St. Theodore, 1465-1470, Milan, Pinacoteca del Castello Sforzesco
• St. Christopher, c.1470, Denver, Denver Art Museum
• Evangelists, 1477, Brescia, Carmelite Church of Santa Maria, Averoldi chapel
• Madonna and Child with an Angel, 1479-1480, Florence, Uffizi
• Bottigella Altarpiece, c.1486, Pavia, Pinacoteca Malaspina
• St. Francis receiving the stigmata and St. Giovanni Battista, 1488-1489, Milan, Pinacoteca del Castello Sforzesco
• Saint Sebastian, c.1489, Milan, Pinacoteca di Brera
• Madonna and Child in a Landscape, c.1490, Philadelphia, Philadelphia Museum of Art
• Altarpiece, c.1490, Oratory of Our Lady of the Castle, Savona, with Ludovico Brea
• Madonna and Child, 1490-1495, Milan, Museo Poldi Pezzoli
• Martyrdom of St. Sebastian, c.1485, Milan, Pinacoteca del Castello Sforzesco
• Portrait of Giovanni Francesco Brivio, 1495, Milan, Museo Poldi Pezzoli
• Portrait of an Old Gentleman, 1495-1500, Philadelphia, Philadelphia Museum of Art
• St. Anthony of Padua, 1495-1500, Washington, National Gallery of Art
• San Bernardino of Siena, 1495-1500, Washington, National Gallery of Art
• Altarpiece of Santa Maria delle Grazie, 1500-1510, Milan, Pinacoteca di Brera
• Adoration of the Magi, c.1500, London, National Gallery

Vincenzo Foppa.

References

Wikisource has the text of the 1911 Encyclopædia Britannica article Foppa, Vincenzo.

1. ^ Jump up to:^{a b c d e f g h i j k l m}Ffoulkes, Constance J.; Maiocchi, Rodolfo (1909). Vincenzo Foppa of Brescia, Founder of the Lombard School. London: Lane.
2. Jump up^ Jones, Howard; Kilpatrick, Ross (2007). « Cicero, Plutarch, and Vincenzo Foppa: Rethinking the Medici Bank Fresco (London, the Wallace Collection, Inv. P 538) ». International Journal of the Classical Tradition. 13 (3): 369–383.
3. Jump up^ Waterhouse, E.K. (1950). « The Fresco by Foppa in the Wallace Collection ». The Burlington Magazine. 92 (567): 176–177.
4. Jump up^ Bernstein, J. Gitlin (1981). « Science and Eschatology in the Portinari Chapel ». Arte Lombarda. 26 (60): 33–40.
5. Jump up^ Urry, Serena (2004). « Technical Findings in Vincenzo Foppa’s: Adoration of the Child with Saint Benedict and Angels ». Bulletin of the Detroit Institute of Arts. 78: 30–39.
6. Jump up^ Dunkerton, Jill; Plazzotta, Carol (2001). « Vincenzo Foppa’s ‘Adoration of the Kings' ». National Gallery Technical Bulletin. 22: 18–28.
7. Jump up^ Welch, Evelyn Samuels (1985). « New Documents for Vincenzo Foppa ». The Burlington Magazine. 127 (986): 296–300.

https://en.wikipedia.org/wiki/Vincenzo_Foppa

http://www.giacobbegiusti.com

Giacobbe Giusti, AMBROGIO BERGOGNONE: Madonna and Child (London, National Gallery)

Giacobbe Giusti, AMBROGIO BERGOGNONE: Madonna and Child (London, National Gallery)

 Giacobbe Giusti, AMBROGIO BERGOGNONE: Madonna and Child (London, National Gallery)

Fresco in the Basilica of San Simpliciano, Milan.

Ambrogio Borgognone (variously known as Ambrogio da Fossano, Ambrogio di Stefano da Fossano, Ambrogio Stefani da Fossano or as il Bergognone or Ambrogio Egogni^[1]c. 1470s – 1523/1524) was an Italian painter of the Renaissance period active in and near Milan.

Biography

While he was nearly contemporary with Leonardo da Vinci, he painted in a style more akin to the pre-Renaissance, Lombard art of Vincenzo Foppaand Bernardino Zenale. The dates of his birth and death are unknown; he is said to have been born at Fossano in Piedmont and his appellation attributed to his artistic affiliation with the Burgundian school.^[2]

His fame is principally associated with his work at the Certosa di Pavia complex, composed of the church and convent of the Carthusians. It is unlikely he designed, in 1473, the celebrated facade of the Certosa itself. He worked there for eight years starting in 1486, in collaboration with his brother Bernardino Bergognone, when he furnished the designs of the figures of the virgin, saints and apostles for the choir-stalls, executed in tarsia or inlaid wood work by Bartolomeo Pola, till 1494, when he returned to Milan. Only one known picture, an altar-piece at the Basilica of Sant’Eustorgio, can with probability be assigned to a period of his career earlier than 1486.^[3]

For two years after his return to Milan he worked at the church of San Satiro. From 1497 he was engaged for some time in decorating with paintings the church of the Incoronata in neighbouring Lodi. Documentation of him thenceforth is scant. In 1508 he painted for a church in Bergamo; in 1512, his signature appears in a public document of Milan; in 1524—and this is our last authentic record—he painted a series of frescoes illustrating the life of St. Sisiniusin the portico of San Simpliciano at Milan. Borgognone is considered a modestly talented painter with marked individuality. He holds an interesting place in the most interesting period of Italian art.^[3]

The National Gallery, London, has a number or his works: the separate fragments of a silk banner painted for the Certosa, and containing the heads of two kneeling groups severally of men and women; and a large altar-piece of the marriage of St Catherine, painted for the chapel of Rebecchino near Pavia.^[3]

But to judge of his real powers and peculiar ideals, his system of faint and clear coloring, whether in fresco, tempera or oil; his somewhat slender and pallid types, not without something that reminds us of northern art in their Teutonic sentimentality as well as their fidelity of portraiture; the conflict of his instinctive love of placidity and calm with a somewhat forced and borrowed energy in figures where energy is demanded, his conservatism in the matter of storied and minutely diversified backgrounds to judge of these qualities of the master as they are, it is necessary to study first the great series of his frescoes and altar-pieces at the Certosa, and next those remains of later frescoes and altarpieces at Milan and Lodi, in which we find the influence of Leonardo and of the new time mingling with, but not expelling, his first predilections.^[3]

Bernardino Luini is said to have been one of his pupils.

References

1. Jump up^ Dizionario biografico universal, By Gottardo Garollo, 1907, page 727.
2. Jump up^ Chisholm 1911.
3. ^ Jump up to:^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). « Borgognone, Ambrogio« . Encyclopædia Britannica. 4 (11th ed.). Cambridge University Press. p. 250.

https://en.wikipedia.org/wiki/Ambrogio_Bergognone

http://www.giacobbegiusti.com