Lavinia Fontana – artist

Mother of 11 was Italy’s first female professional painter

A detail from Fontana's Self-Portrait at the
Clavichord with a Servant, painted in 1577

Bolognese Mannerist artist Lavinia Fontana, who became famous for her portraits, died on this day in 1614 in Rome. She has come to be regarded as the first female professional painter in both Italy and throughout western Europe because her family lived on her income from commissioned works. Her husband worked as her assistant and agent and helped her bring up their 11 children.

Lavinia was born in Bologna in 1552 and baptised at the Basilica di San Petronio in the city. Her father, Prospero, was a prominent artist of the Bolognese school and trained Lavinia to follow in his footsteps. This allowed her to become an artist at a time when women were not widely accepted in the profession.

Her earliest known work, Child of the Monkey, was painted in 1575 when she was 23, but is now lost. Another early painting, Christ with the Symbols of the Passion, which was painted in 1576, is now in the El Paso Museum of Art in Texas.

Bologna society was largely supportive of Lavinia’s career, providing opportunities that were not given to women artists in other areas of Italy. She is thought to be the first woman artist working within the same sphere as her male counterparts to live outside a court or a convent.

Lavinia began working professionally by painting small devotional pictures on copper, which had popular appeal as papal and diplomatic gifts. By the 1580s she was in demand as a portrait painter of Bolognese noblewomen, who competed for her services and paid large sums of money for her work because of her close attention to detail. 

Mancini's Christ with the Symbols of
Passion, at the El Paso Museum of Art

She displayed the wealth of the sitter by not neglecting any fashionable detail and by using bright colours for their clothes and jewellery. She also painted portraits of important people connected with the University of Bologna. As her career developed, she began creating large-scale paintings with religious or mythological themes. Among her most famous works are her large altarpieces for churches in Bologna.

Lavinia married another painter, Gian Paolo Zappi, in 1577, at the age of 26, and continued to paint professionally, adding the name Zappi to her signature.

Her husband helped her take care of the household and worked as her painting assistant and agent. He would paint minor elements of her canvases, such as draperies. Lavinia attended Bologna University and was listed as one of the city’s ‘donne addotrinate’, women with doctorates, in 1580.

In 1589, Lavinia painted the altarpiece Holy Family with the Sleeping Christ Child for El Escorial in Madrid.

At the invitation of Pope Clement VIII, Lavinia and her family moved to Rome in 1604 and she was appointed Portraitist in Ordinary at the Vatican. Pope Paul V was later among her sitters.

In 1604, Lavinia painted her largest work, The Martyrdom of St Stephen, an altarpiece for San Paolo Fuori le Mura - Saint Paul Outside-the-Walls - in Rome.

Among the honours she received was a bronze portrait medallion of herself cast by sculptor and architect Felice Antonio Casoni in 1611. She was also elected into the Accademia di San Luca of Rome, which was rare for a woman.

Minerva Dressing (1613), thought to be
the first female nude painted by a woman 

Lavinia died in Rome on 11 August 1614 and was later buried in Santa Maria sopra Minerva, one of the major Dominican churches in the capital.

One of Lavinia’s masterpieces is considered to be the Self-Portrait at the Clavichord with a Servant, which she painted as a gift to the Zappi family before her wedding, describing herself as a virgin in the signature. She also stated that she painted it while looking at herself in a mirror as a testament to it being an accurate depiction of her.

Over 100 of her works have been documented, but only 32 signed and dated are still known today. Another 25 have been attributed to her, giving her the largest collection of works by any female artist before 1700.

Lavinia’s religious and mythological paintings sometimes featured nude figures. Her painting, Minerva Dressing, for Cardinal Scipione Borghese, nephew to Pope Paul V, is believed to be the first female nude executed by a woman in Italy.  This can be seen in the Galleria Borghese in Rome. It has also been claimed Lavinia was the first female artist to paint mythological subjects.

Lavinia was immortalised by being the subject of Portrait of a Woman by Paolo Veronese, painted in 1595, when she was 43. She was the only woman to be featured in the 17th century book Considerazioni sulla pittura - Considerations on Painting - written by the physician and art collector Giulio Mancini, where the beauty of her paintings was likened to her own physical attractions by the writer.

It was rare for a woman painter to achieve such success and to profit from her talent during the Renaissance period. Some experts would argue that, to this day, Lavinia Fontana remains insufficiently appreciated as an artist.

The Basilica of San Petronio in Bologna
is the sixth largest church in Europe

Travel tip:

The Basilica di San Petronio, where Lavinia Fontana was baptised, dominates Bologna’s Piazza Maggiore. Standing 47m (154ft) tall, 132m (144yds) long and 60m (66yds) wide, it is the sixth largest church in Europe and is seen as a symbol of the city. Strangely,  it was not consecrated as a church until 1954 - 574 years after it was built. It was constructed as a civic temple and not transferred from the city to the diocese until 1929.  It is notable for its unfinished facade, the red and brick marble of Domenico da Varignana’s design abandoned when it had barely reached one third of the building’s height, following the intervention of Pope Pius IV, who considered the project too expensive and ambitious.

The Basilica of St Paul Outside-the-Walls is
one of Rome's four major Papal Basilicas

Travel tip:

St Paul Outside-the-Walls is one of the four major Papal Basilicas in Rome, along with St John in the Lateran (San Giovanni in Laterano), St Peter’s (San Pietro in Vaticano) and St Mary Major (Santa Maria Maggiore). Originally built in the fourth century, it was founded by the Roman emperor Constantine I over the burial place of St Paul. It was damaged and rebuilt after Saracen raids in the ninth century and an earthquake in the 14th century and almost completely destroyed by a fire in 1823, after which Pope Leo XII ordered it to be reconstructed to exactly resemble the original, consecrated in 324, although this turned out to be an unrealistic ambition. The new basilica bears only a general resemblance to the original. The tomb of St Paul is below a marble tombstone in the basilica’s crypt.

Also on this day:

1492: The election of Rodrigo Borgia as Pope Alexander VI

1902: The birth of cycling champion Alfredo Binda

1967: The birth of football coach Massimiliano Allegri 

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Francesco Hayez - painter

Artist who pushed boundaries of sensuality

Francesco Hayez, as he appeared
in an 1820s self-portrait

The painter Francesco Hayez, regarded as the father of the Milanese Romanticism movement in the mid-19th century and an artist renowned for his depictions of historical events and for his political allegories, was born on this day in 1791 in Venice.

His father, a fisherman, was French in origin and married a girl from Murano called Chiara Torcello, although they were a relatively poor family and Francesco was largely brought up by his wife’s sister, who had the good fortune to marry Giovanni Binasco, a wealthy ship-owner who dealt in antiques and collected art.

It was Binasco who fostered in Hayez his love of painting and after initially beginning an apprenticeship as an art restorer became a pupil in the studio of the Venetian painter Francesco Maggiotto. He was admitted to the New Academy of Fine Arts in Venice in 1806.

Hayez moved to Rome in 1809 after winning a one-year scholarship at the Accademia di San Luca.  In the event, he stayed in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat, the  French military commander and statesman who was King of Naples under Napoleonic rule, to paint a major work. 

By the mid-1830s, Hayez had become interested in the growing Risorgimento movement, the proponents of which foresaw an Italy liberated from foreign control in which artistic expression could thrive. He moved to Milan, where he met like-minded painters and writers at the Salotto Maffei, the salon hosted by Clara Maffei, whose portrait Maffei's husband commissioned Hayez to paint. 

Hayez's 1867 painting, The destruction
of the Temple of Jerusalem

It was in Milan that he established himself at the centre of intellectual life, being held in such high regard that in 1850 he was appointed director of the Brera Academy, where he remained for the rest of his working life. His pupils included Alessandro Focosi, Angelo Pietrasanta and Francesco Valaperta.

Hayez’s output was substantial and varied throughout his career, from biblical themes to grand works depicting key contemporary political and social figures in settings from Italian history. 

He had a particular penchant for paintings involving semi-clothed Odalisques, a favorite topic of Romantic painters. These women were female attendants in Turkish harems under Ottoman rule but the term came to mean a concubine in western usage, and their depiction in historical works allowed artists the ability to paint scenes that otherwise would not be deemed acceptable in 19th century society.

Later, Hayez focussed more and more on allegorical themes, often with strong patriotic or political connotations.

The allegorical painting, Il bacio, is seen
by some as Hayez's finest work

It was during this phase that he produced one of his most famous works, and one that many of his contemporaries regarded as his best, Il bacio - The Kiss - painted in 1859.

Il bacio is notable first for the passion with which the male figure kisses the woman, one hand at the back of her head while the other caresses her face, a sensual echo of his much earlier work, L'ultimo bacio di Romeo e Giulietta - The Last Kiss of Romeo and Juliet - painted in 1823, in Romeo’s hand on Juliet’s lower back, pulling her closer to him, was seen as somewhat risqué at the time.

It was seen as having a political message, too. Painted at a time when Milan and much of northern Italy was under the control of the Austrian Empire and the Habsburgs, Il bacio was interpreted as showing a young Italian soldier kissing goodbye to his lover before going off to fight for Italy against the Austro-Hungarians. 

This was reinforced in a later version - Hayez is thought to have painted five versions in total - in which the red and green in the male figure’s costume, juxtaposed to a white shawl that has fallen on to some nearby steps, is seen to represent the Italian tricolore, and the blue and white of the woman’s clothing, next to the red of the man’s tights, is taken to represent the French flag, symbolising the alliance between Italy and France that ultimately brought about Italian unification.

Hayez was in demand also for his portraits, often commissioned by the nobility but also by his fellow artists and musicians. In the late stages of his career, he was known to have made use of photographs, sparing his subjects the need to pose for long periods. 

He died in Milan in 1892 at the age of 91.

A canal in Murano, flanked by the examples of
the island's characteristic coloured houses

Travel tip:

Murano, the home of Francesco Hayez’s mother, is a group of islands in the Venetian lagoon about a kilometre across the water from Venice’s northern shore. Like its neighbour, it has a network of canals. Historically a fishing port and a centre for salt production, nowadays it is famous for its multi-coloured houses and glass factories and attracts crowds of tourists, although this does not detract from its charm. The island is proud of its glass-making history, which can be studied at the Museo del Vetro, on Fondamenta Giustinian, but aggressive sales techniques and cheap imports masquerading as Murano glass have sullied its reputation in recent years.

Hotels in Murano by Booking.com

The Palazzo Brera is home to the Milan's
renowned Accademia di Belle Arti

Travel tip:

The Accademia di Belle Arti di Brera, sometimes shortened to Accademia di Brera, where Francesco Hayez was the director, is now a state-run tertiary public academy of fine arts in Via Brera in Milan, in a building it shares with the Pinacoteca di Brera, Milan's main public museum for art, which houses the original version of Il bacio. The academy was founded in 1776 by Maria Theresa of Austria and shared its premises with other cultural and scientific institutions, including an astronomical observatory, botanical garden, school of philosophy and law, laboratories for physics and chemistry, and a library. The main building, the Palazzo Brera, was built in about 1615 to designs by Francesco Maria Richini.

Find a hotel in Milan with Booking.com

More reading:

How Giovanni Mazzini inspired the Risorgimento movement

Baldassare Verazzi, the painter who captured the Five Days of Milan uprising

The 18th century master of frescoes who became court painter to Napoleon

Also on this day:

1482: The death of sculptor Luca della Robbia

1821: The birth of painter Roberto Bompiani

1918: The death of Nobel Prize-winning peace activist Ernesto Teodoro Moneta

1944: The birth of writer and politician Raffaele Lauro

1953: The founding of oil and gas company ENI

1966: The birth of footballer Andrea Silenzi

(Paintings: Hayez's Self-Portrait in a Group of Friends (1824), Museo Poldi Pezzoli, Milan; The Destruction of The Temple of Jerusalem (1867), Gallerie dell'Accademia, Venice; Il bacio (1859), Pinacoteca di Brera, Milan)

(Picture credits: Palazzo Brera by MarkusMark via Wikimedia Commons)

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Alessandro Bonvicino – Renaissance painter

Talented artist from Brescia acclaimed for sacred paintings and portraits

Alessandro Bonvicino was an
acclaimed painter in Brescia

Alessandro Bonvicino, who became famous for the altarpieces he painted for churches in northern Italy, died on this day in 1554 in Brescia in Lombardy.

Nicknamed Il Moretto da Brescia - the little moor from Brescia - Bonvicino is known to have painted alongside the Venetian artist Lorenzo Lotto in Bergamo. The portrait painter Giovanni Battista Moroni from Albino, in the province of Bergamo, was one of his pupils.

Bonvicino, sometimes known as Buonvicino, was born in Rovato, a town in the province of Brescia, in about 1498. It is not known how he acquired his nickname of Il Moretto.

He studied painting under Floriano Ferramola, but is also believed to have trained with Vincenzo Foppa, a painter who was active in Brescia in the early years of the 16th century. 

It is thought he may also have been an apprentice to Titian in Venice and it is known that he modelled his portrait painting on the Venetian style. Bonvicino is believed to have admired Raphael, although there is no evidence he ever travelled to Rome. He specialized in painting altarpieces in oils rather than in fresco.

Il Moretto's Madonna and Child with an Angel,
which is on display in Milan's Pinacoteca di Brera 

At the height of his career, Bonvicino was considered one of the most acclaimed painters working in Brescia. In 1521 he worked with Girolamo Romanino in the Duomo Vecchio of Brescia, executing a Last Supper, Elijah in the Desert and a Fall of Manna and he later worked with Lorenzo Lotto in the Basilica of Santa Maria Maggiore in Bergamo.

His paintings can be found in many other churches in Brescia, Bergamo, Milan and Verona and in the collections of the National Gallery in London, the Metropolitan Museum in New York and the Hermitage in St Petersburg, as well as galleries in Milan, Venice, Paris, Vienna, Frankfurt, Oxford, Washington and Budapest.

Bonvicino’s 1526 Portrait of a Man, which now hangs in the National Gallery, is said to be the earliest Italian full-length portrait. The setting for his subject, who is leaning on a classical column, was later to be emulated by Moroni.

Noted for his piety, Bonvicino prayed and fasted before embarking on any sacred work of art, such as painting the Virgin Mother. He spent most of his life in Brescia and belonged to two of the religious confraternities there. He died, aged about 56, in Brescia.

The Piazza della Loggia is an elegant square
in the centre of the city of Brescia

Travel tip:

Brescia is a town of great artistic and architectural importance and is the second city in Lombardia, after Milan. It has Roman remains and well-preserved Renaissance buildings but is not as well-known to tourists as the other historic Italian cities. Brescia became a Roman colony before the birth of Christ and you can still see remains from the forum, theatre and a temple. The town was fought over by different rulers in the Middle Ages but came under the protection of Venice in the 15th century. There is a distinct Venetian influence in the architecture of the Piazza della Loggia, an elegant square in the centre of the town, which has a clock tower remarkably similar to the one in Saint Mark’s square in Venice. Next to the 17th century Duomo is an older cathedral, the unusually shaped Duomo Vecchio, also known as la Rotonda, where Bonvicino painted in the 16th century. The Santa Giulia Museo della Citta covers more than 3000 years of Brescia’s history, housed within the Benedictine Nunnery of San Salvatore and Santa Giulia in Via Musei. The nunnery was built over a Roman residential quarter, but some of the houses, with their original mosaics and frescoes, have now been excavated and can be seen while you are looking round the museum.

The Basilica with the Colleoni
Chapel in the foreground

Travel tip:

It is known that Bonvicino painted alongside Lorenzo Lotto in the beautiful Basilica di Santa Maria Maggiore in Piazza Duomo in Bergamo’s Città Alta. The basilica, which dates back to the 12th century, is considered to be one of the finest buildings in Lombardy with a cupola that was richly decorated in the 16th century. At the back of the church is an elaborate white marble monument designed by Vincenzo Vela, marking the tomb of composer Gaetano Donizetti, who was born in Bergamo and returned to die in the city. Nearby there is a monument to his teacher Simon Mayr, who was maestro of the chapel in the basilica. There is an elaborately carved wooden confessional designed by Andrea Fantoni in 1704 and an altar rail with wood carvings following designs by Lorenzo Lotto.

Also on this day:

1821: The birth of musician Giovanni Bottesini

1858: The birth of opera composer Giacomo Puccini

1908: The birth of sculptor Giacomo Manzù

1963: The birth of footballer Giuseppe Bergomi

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Giuseppe Dossena - painter

Modern impressionist who funded his art with restoration projects

Dossena was in demand
for his restoration skills

The painter Emilio Giuseppe Dossena was born on this day in 1903 in the small town of Cavenago d’Adda, about 48km (30 miles) southeast of Milan, in Lombardy.

Known more often simply as Giuseppe Dossena, he showed a talent for sculpture during his early years but preferred painting and soon began to produce outstanding landscapes in a neo-impressionist style.

With a young family to support, however, he had to find ways to supplement his income and eventually found regular work restoring and decorating villas and castles for a string of rich or aristocratic clients. 

In the late 1960s and early 1970s, Dossena spent a number of years living in the United States, where he was employed as a restorer of priceless artworks owned by institutions ranging from the Metropolitan Museum of New York to the Playboy Club.

As a child, he grew up in difficult circumstances, not helped by the death of his father when he was only 12 years old, which meant he had to give up school along with the older of his two brothers and find a job that would help support his mother and the three other members of the family.

Eventually, however, he was able to focus on his art and attended the Brera Academy and the Scuola di Castello in Milan, where he was able to hone his talent. He became friends with other painters, including Renato Guttuso, Domenico Cantatore, Umberto Lilloni and Aligu Sassu.

Dossena's 1976 painting, Giorno di
Mercato, is an example of his work

He did not hide his political opinions, being unafraid to speak out against the rise of Fascism, but avoided the fate of some who did so and were arrested as a consequence.  In 1937, he married Cornelia Ginevra Zacchetti, with whom he would have six children, but lost his mother in the same year.

His growing family meant he had to take a job rather than hope to live on the proceeds of his easel work, which was largely confined to his spare time. Fortunately, he found a profitable outlet for his ability as a specialist in the restoration and decoration of villas and castles and painted frescoes for churches.

His clients from the world of industrial entrepreneurs included the Pirelli, Invernizzi and Borletti families, while he also took on projects for the aristocratic Cicogna and Castelbarco families. The conductor Arturo Toscanini employed him to decorate a villa and the castles of Parrano and Monte Giove in Umbria were both restored by Dossena.  

The Italian Embassy in Addis Ababa, capital of Ethiopia, commissioned work by him only for it to be destroyed in bombing raids in World War Two.

Meanwhile, he began to acquire a following for his own impressionist paintings and his first major exhibition, at the Galleria Gavioli in Milan in 1943, not only attracted critical acclaim but was lucrative, too, with every exhibit sold.

For the next 25 years, Dossena continued to combine his restoration projects with his easel work, exhibiting from time to time and opening a studio in Milan.

Dossena's 1980 painting,
Parco Sempione

He suffered a setback in 1968 when an explosion in a neighbouring premises caused a fire that spread to his studio, destroying it.  The event prompted him to reflect on his career, which at that point had become somewhat becalmed, and he took the bold decision, at the age of 65, to move to America.

It proved a successful venture. As well as taking a job with the Studio Berger in New York, for whom he restored works by Renoir, Rembrandt, Picasso and other masters, Dossena was inspired enough by his new surroundings for his career to enjoy a revival. His new work was subtly different, still with its roots in neo-impressionism but with simpler lines and it was a hit with the critics, culminating in a series of well-received exhibitions.

Dossena returned to Italy in 1976 but his later years were blighted by leukaemia, which in time caused him to stop painting.  Yet he remained artistically active, turning to poetry for an outlet. His work was published in numerous anthologies and won him several awards before he died in 1987 at the age of 83.

The medieval hilltop village of Parrano,
where Dossena helped restore the castle

Travel tip:

Parrano in Umbria, where Dossena worked on restoring the castle, is a good example of a medieval Umbrian village. Situated about 35km (22 miles) southwest of Perugia and about 50km (31 miles) northwest of Terni, Parrano has sections of its original walls and two well-preserved gates. The castle itself was advertised for sale this year with potential to be developed as a luxury hotel. Conversion work has already taken place to create 26 suites and a spa centre, while the estate that comes with the castle included four extra buildings in the heart of the village and 23 farmhouses in the surrounding countryside.

Lodi's central square, Piazza della Vittoria,
is one of the most beautiful in Italy

Travel tip:

Lodi is a city in Lombardy, to the south of Milan and on the right bank of the River Adda. The main square, Piazza della Vittoria, has been listed by the Touring Club of Italy as among the most beautiful squares in Italy with its porticoes on all four sides. Nearby Piazza Broletto has a 14th century marble baptismal font from Verona.The city retains a mostly Medieval layout, starting from the remains of the Visconti Castle, built by the ruling Visconti family alongside the city walls in 1370. The churches of San Francesco and Sant’Agnese are worth a look, as is the 13th century church of San Lorenzo.

Also on this day:

1813: The birth of forgotten opera composer Errico Petrella

1907: The birth of actor Amedeo Nazzari

1921: The birth of lawyer and football administrator Giuseppe Prisco

1936: The death of playwright and novelist Luigi Pirandello

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Agostina Segatori – artist’s model and restaurateur

Van Gogh paid Italian café owner with works of art in exchange for meals

Agostina Segatori, painted by Jean-
Baptiste-Camille Corot in 1866 

Agostina Segatori, whose Italian looks inspired many of the top French painters in the 19th century, was born on this day in 1841 in Ancona, a seaport city in the region of Le Marche.

Little is known about Agostina’s early life, but she had moved to Paris before she was 20, because she posed for Edouard Manet’s painting, L’Italienne, there in 1860.

Over the next three decades she was to model for Edouard Joseph Dantan, Jean-Baptiste Corot, Jean-Leon Gerome, Eugene Delacroix and Vincent van Gogh.

Agostina had a relationship with Dantan that lasted 12 years. He is reputed to have referred to her as Madame Segatori-Morière, which implied she was married to a Monsieur Morière. She had an illegitimate son, Jean-Pierre, with Dantan. Their relationship was stormy and ended in 1884.

Despite having a failed relationship and becoming a single mother, Agostina continued to work as an artist’s model and carefully saved the money she earned.

In 1885 she invested her savings in a café with an Italian theme, the Café du Tambourin. It became a hotspot for artists, writers and critics. The Café du Tambourin was originally at 27 Rue de Richelieu, but it reopened later the same year at 62 Boulevard de Clichy.

Van Gogh's painting of Agostina
Segatori in the Café du Tambourin

Regular visitors included Paul Gauguin and Henri de Toulouse Lautrec. Poster artist Jules Cheret created a poster for the café featuring Agostina. In the picture, she is holding a tambourine-shaped tray in her hands.

The artists who were regulars at Café du Tambourin were to transform the interior into a fascinating gallery of paintings. Vincent van Gogh frequented the café after moving to Paris in 1886 and embarked on a romance with Agostina, presenting her with still life paintings in exchange for food. His painting of Agostina sitting at a table in the Café du Tambourin is now in the Van Gogh Museum in Amsterdam.

Agostina’s business later declined and she fell into debt. The café, along with the artworks on its walls, was repossessed. Agostina never recovered from her financial downfall and suffered ill health until her death in Paris in 1910.

Travel tip:

Ancona, where Agostina Segatori was born, is a port city surrounded by medieval villages. Ancona’s Cathedral dates back to the 11th century and the city still has a fine Roman monument, the Arch of Trajan, which was built in about 114 AD to honour Trajan, the emperor who ordered Ancona’s harbour to be built.  Ancona’s harbour contains the Lazzaretto, a pentagonal building constructed on an artificial island in the 18th century as a quarantine station designed to protect the city from diseases carried by infected travellers.

Travel tip:

Ancona is the capoluogo - capital city - of Le Marche, which is an eastern region of Italy, located between the Apennine mountains and the Adriatic. It is bordered by Emilia-Romagna and the republic of San Marino to the north, Tuscany to the west, Umbria to the southwest and Abruzzo and Lazio to the south. A railway from Bologna to Brindisi runs through the region along the coast.  Urbino, one of the major cities of the region, was the birthplace of Raphael and to the north of Urbino, the seaside resort of Pesaro, was the birthplace of the composer Gioachino Rossini.

Also on this day:

1221: The birth of Salimbene di Adam, friar and historian

1469: The death of Fra’ Filippo Lippi, Renaissance painter

1562: The death of anatomist and physician Gabriele Falloppio 

1963: The Vajont Dam disaster

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Gian Paolo Lomazzo - artist

Painter became leading art historian and critic of the 16th century

Lomazzo's Madonna and the Saints
in the church of San Marco, Milan)

Gian Paolo Lomazzo, a talented painter who went blind when he was 33 and turned to writing instead, was born on this day in Milan in 1538.

He became an expert on the work of Leonardo da Vinci and was given unique access to the artist’s own written work.

Lomazzo, whose first name is sometimes given as Giovan or Giovanni, was born into a family who had just moved to Milan from the town of Lomazzo in the province of Como in Lombardy.

He began training as a painter early in his life with the artists Gaudenzio Ferrari and Giovan Battista della Cerva in Milan.

By 1567 Lomazzo had painted a large Allegory of the Lenten Feast for the Church of Sant’ Agostino in Piacenza. Other notable works by him include an elaborate fresco of a dome with Glory of Angels and a painting depicting The Fall of Simon Magus for the Cappella Foppa in the Church of San Marco in Milan.

Lomazzo was so admired as an artist that the sculptor and medallist Annibale Fontana depicted him on a medallion in 1562.

But by 1571 Lomazzo had become blind and could no longer paint. He adapted to writing about art instead and produced two complex treatises that are regarded as milestones in the development of art criticism.

His first work, completed in 1584, Trattato dell’arte della pittura, scultura e architettura, is in part a guide to decorum, contemporary concepts of good taste, which the Renaissance inherited in part from Antiquity. It has been described as the Bible of Mannerism and Lomazzo’s writing made him a central figure in the development of Italian Mannerist theories.

His 1590 work, Idea del tempio della pittura, explained the role of individuality in judgment and artistic invention.

Lomazzo's self-portrait, painted in about 
1568, is in the Pinacoteca di Brera in Milan

Lomazzo took into account three aspects of art criticism: doctrina, the discoveries made my artists in the course of history; prattica, the personal preferences of the artist; and iconography, the literary element in art. He systematically extracted abstract concepts from art, rather than just recounting the marvels of the works of famous artists in the manner of Giorgio Vasari. He is regarded by historians as a very reliable chronicler of the period and he gave detailed practical instruction on the creation of art.

He is reputed to have had a large collection of drawings by Leonardo da Vinci and he spent years amassing every fact that was known about Leonardo.

He wrote about Leonardo: ‘Whenever he began to paint, it seemed that Leonardo trembled, and he never finished any of the works he commenced because, so sublime was his idea of art, he saw faults even in the things that to others seemed miracles.’

Leonardo’s protégé and heir, Francesco Melzi, gave Lomazzo access to the maestro’s own writings.

Scholars have taken from what Lomazzo wrote about the creation of the picture of Mona Lisa, that Leonardo painted two almost identical portraits of the subject, one called Mona Lisa and the other called La Gioconda.

Lomazzo also wrote poetry and had a number of pupil painters during his career, including the artists Giovanni Ambrogio Figino and Cristoforo and Girolamo Ciocca.

Lomazzo died in 1592, at the age of 53, in Milan. His self-portrait, painted in about 1568, is in the Pinacoteca di Brera in Milan.

The Arch of Peace
in the town of Lomazzo

Travel tip:

Lomazzo in Lombardy, where Gian Paolo Lomazzo’s family originated, is about halfway between Como and Milan. The historic centre of the town was built upon a hill. The Church of San Siro, built in 1732 in the town, houses a 16th century panel by Morazzone depicting the Adoration of the Magi. In 1286, the town witnessed the signing of one of several peace treaties between the Guelphs and the Ghibellines, not all of them successful, and this one was marked by the construction of an Arch of Peace in front of the Church of San Siro.

The Church of San Marco in Milan,
which has frescoes by Lomazzo

Travel tip:

The Church of San Marco in Milan, which has frescoes by Gian Paolo Lomazzo, dates back to the 13th century. It was dedicated to Saint Mark, the patron saint of Venice, after the help given by the city in the war against Frederick Barbarossa in the 12th century. The building was modified in the Baroque style during the 17th century and became the largest church in Milan after the Duomo.  In early 1770, the young Mozart resided in the monastery of San Marco for three months and in 1874, the Milanese poet and novelist Alessandro Manzoni was commemorated in the church by the first performance of Verdi's Requiem, written in his honour.

Also on this day:

1575: The birth of Maria de’ Medici, Queen of France

1925: The birth of Michele Ferrero, the chocolatier who invented Nutella spread

1977: The birth of astronaut Samantha Cristoforetti

(Picture credits: Arch of Peace by Alberto Monti; Church of San Marco by MarkusMark via Wikimedia Commons)

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Jacopo Bassano – painter

Artist loved brilliant colours and drew his inspiration from real life

The statue of Jacopo Bassano in the
town from which he took his name 

The artist who became known as Jacopo Bassano died on this day in 1592 in Bassano del Grappa in the Veneto in northern Italy.

He was born in about 1510 in Bassano del Grappa.  According to some accounts, he was christened Jacopo dal Ponte, although the inscription on his statue in the town names him Giacomo da Ponte. His father, Francesco il Vecchio, was already a successful painter in Bassano and had established a workshop that produced mostly religious works.

Jacopo became an apprentice in his father’s workshop while still a young boy. He made his way to Venice when he was about 20, where he studied under Bonifazio de Pitati, who was also known as Bonifazio Veronese.

While in Venice, he met famous artists, such as Titian and il Pordenone, and his work from this period shows Titian’s influence and demonstrates his lifelong appreciation of the great artist’s work.  Jacopo Bassano’s earliest paintings also show his love of the brilliant colours used by Titian.

Bassano’s Supper at Emmaus (1538), originally commissioned for a church, uses rich luminous colours that distinguish the figures from their background. Unusually, he places Christ towards the back of the scene, allowing the figures around him to play a more significant part. He dresses them in 16th century clothes rather than in robes in the classical Roman tradition. He includes food on the table and there is a dog and a cat in the picture, showing he has drawn on contemporary life for his inspiration rather than just sticking to the stylistic conventions of his age.

Bassano's The Last Supper shows the influence
of such artists as Durer and Raphael on his work

After his father’s death in 1539, Jacopo Bassano returned to Bassano del Grappa and took over the running of the family workshop. He married a local woman, Elisabetta Merzari, in 1546.

His painting of The Last Supper in 1542 shows the influence on his work of Mannerism and indicates that he had seen the paintings of Durer and Raphael because his figures seem alive, with muscles and sinews, in the style of those two great artists.

After about 1550 he started experimenting with light and he was one of the first painters to paint a ‘nocturne’, a scene taking place at night time, which was to make his paintings even more highly valued.  He also tended to place his subjects in a natural landscape with carefully painted trees and flowers.

A portrait of Bassano painted
by his son, Girolamo

His four sons, Leandro Bassano, Francesco Bassano the Younger, Giovanni Battista da Ponte and Girolamo da Ponte, all worked in his workshop and followed him closely in style and subject matter.

After Jacopo’s death in 1592, his sons produced numerous works in his style, making it difficult for art historians to establish which pictures were created by Jacopo Bassano himself and which were the work of his sons.

His work is considered unique because it incorporated diverse artistic influences. He is believed to have learnt from Durer, Parmigianino, Tintoretto and Raphael, even though he lived permanently in Bassano del Grappa, mainly by seeing their prints, of which he became an avid collector.

The Ponte degli Alpini was designed by the
great architect Andrea Palladio

Travel tip:

Bassano del Grappa, where Jacopo Bassano was born and died, and from which he got his professional name, is an historic town at the foot of Monte Grappa in the Vicenza province of the Veneto, about 35km (22 miles) northeast of the city of Vicenza. The town is famous for inventing grappa, a spirit made from the grape skins and stalks left over from wine production, which is popular with Italians as an after dinner drink to aid digestion. A famous sight in the town is the Ponte degli Alpini, a bridge designed by Andrea Palladio.

The Basilica di Santa Giustina can be found off
Padua's large square, Prato della Valle

Travel tip:

Jacopo Bassano painted altarpieces for churches in Padua, Treviso, and Belluno as well as for churches in his home town and Venice. In the Basilica di Santa Giustina in Padua, his work, Santa Giustina enthroned with the saints Sebastian, Antonio Abate and Rocco, was painted by him in around 1560 with the help of his son, Francesco. It is considered one of his best works and also one of the most original examples of the Venetian Mannerist culture. The Basilica Church of Santa Giustina, which is the ninth largest Christian church in the world, is at the corner of Prato della Valle where it is joined by Via Avazzano and Via Ferrari. The church contains the remains of Santa Giustina, a devout young woman who was martyred in 304, and is also home to the tomb containing the body of St Luke the Evangelist, who was credited with writing the Gospel according to St Luke. Next door to the basilica there is a Benedictine monastery with frescoed cloisters and a famous library that can be visited by arrangement.

Also on this day:

Feste di San Valentino e di Sant’Antonino

La festa degli innamorati (The Feast of the Lovers)

1963: Fellini’s masterpiece Otto e mezzo (8½) is released in Italy

1974: The birth of triple Olympic champion fencer Valentina Vezzali

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Luca Longhi – artist

‘Quiet’ painter trained his children to follow in his footsteps

Luca Longhi's Adoration by the Shepherds
can be seen at the Museo d’Arte della Città

Luca Longhi, a portrait painter also known for his beautiful religious paintings who was working during the late Renaissance and Mannerist periods, was born on this day in 1507 in Ravenna in Emilia-Romagna.

He was the father of the painters Francesco Longhi and Barbara Longhi, who were both trained by him and worked in his workshop.

Little is known about Luca Longhi’s own artistic training, but it is thought he probably attended the Ravenna workshops of local artists Francesco Zaganelli and his brother, Bernardino Zaganelli.

The painter and art historian Giorgio Vasari visited Ravenna in 1548 and wrote about "Master Luca de Longhi" in his book, The Lives of the Artists. He says: “Luca de Longhi is a man of good nature, quiet and (a) scholar (who) has done in his homeland Ravenna, and outside, many beautiful oil pictures and portraits. He has done and still works with patience and study.”

Longhi painted the portraits of many famous and important people of his time, including Giovanni Guidiccione, Bishop of Fossombrone, Giulio della Rovere, Cardinal of Urbino, Alessandro Sforza, Cardinal legate of Romagna and Cristoforo Boncompagni, Archbishop of Ravenna.

The Lady and the Unicorn is said
to depict Giulia Farnese

Among his well-known works are The Lady and the Unicorn, which is a portrait of Giulia Farnese, who was mistress to Pope Alexander VI and the sister of Pope Paul III, Adoration by the Shepherds and Virgin and Child with Saints Sebastian and Rocco.

He painted a Marriage at Canna for the Church of the Camaldolese in Ravenna with his son, Francesco. In the picture there are portraits of Francesco, his daughter, Barbara, and the Abbot of the church’s convent, Don Pietro Bagnolo da Bagnacavallo.

Longhi’s daughter, Barbara Longhi, was much admired as a portrait painter as well. She also assisted her father on large altarpieces and modelled for him. She was depicted by her father as Saint Barbara in his 1570 painting Virgin and Child Enthroned with Saints.

Her self-portrait, in which she is dressed as Saint Catherine of Alexandria, bears a strong resemblance to her father’s depictions of her. The painting was intended originally for the monastery of Sant’Apollinare in Classe, but it was acquired by the Museo d’Arte della Città di Ravenna in the 19th century and restored in 1980.

Lucca Longhi died in his home town of Ravenna in 1580 after succumbing to what was described as a catarrhal illness that had spread throughout Italy after arriving from Paris.

The Basilica of San Vitale in Ravenna is
a UNESCO world heritage site

Travel tip:

Ravenna in Emilia-Romagna, where Luca Longhi and his children lived and worked, was the capital city of the western Roman empire in the fifth century. It is known for its well-preserved late Roman and Byzantine architecture and mosaics and has eight UNESCO world heritage sites. The Basilica of San Vitale is one of the most important examples of early Christian Byzantine art and architecture in Europe.

The museum is housed in the cloister of the
Basilica di Santa Maria in Porto

Travel tip:

There are works by Luca Longhi and his children, Francesco and Barbara, on display in the Museo d’Arte della Città di Ravenna, which is in Via di Roma in the centre of the city, housed in the cloister of the abbey of the Basilica of Santa Maria in Porto. The museum is open from Tuesday to Sunday from 9am to 6pm. During the Covid 19 pandemic the museum is asking visitors to book appointments in advance.  Also on display are works by the Zaganellis and many Venetian artists.

Also on this day:

1451: The birth of Renaissance composer Franchino Gaffurio

1552: The birth of international lawyer Alberico Gentili

1883: The birth of fashion designer Nina Ricci

1919: The birth of seven-times prime minister Giulio Andreotti

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Mario Minniti - painter

Sicilian influenced by long-time collaborator Caravaggio

Caravaggio's Boy with a Basket of
Fruit, thought to be a young Minniti

The painter Mario Minniti, who has acquired some historical notoriety over his long association with the brilliant but hot-tempered Renaissance great Caravaggio but went on to enjoy a successful career in his own right, was born on this day in 1577 in Syracuse, Sicily.

Minniti first encountered Caravaggio - born Michelangelo Merisi - when he arrived in Rome at the age of 15, seeking an apprenticeship following the death of his father.

Caravaggio was just a few years older than Minniti. They became friends and Minniti, who was blessed with boyish good looks, is thought to have been the model Caravaggio used in a series of works commissioned by Cardinal Francesco Maria del Monte, one of the leading connoisseurs in Rome.

These included his paintings Boy with a Basket of Fruit, The Fortune Teller, The Musicians, Bacchus and The Lute Player.

As well as learning Caravaggio’s style and techniques, whose influence shone through in many of his own works, Minniti became close friends with his mentor, with some historians buying into the theory that they were lovers and that Caravaggio was obsessed with his young model’s beauty.

Others dispute this, however, not least because Minniti is known to have been married twice. They also point out that, in 16th century Italy, it was normal for men possessed with qualities associated with female beauty, such as pale, smooth skin and full lips, to be admired by other men, who saw such characteristics as signs of aristocratic breeding.

Caravaggio (above) took refuge with
Minniti at his home in Sicily

They argue that Minniti and Caravaggio, in fact, shared an appetite for flirting with other men’s wives and girlfriends on alcohol-fuelled nights out and that in many of the street brawls that marked Caravaggio’s time in the Eternal City, Minniti was at his side.

He may even have been present on the fateful May day in 1606 when Caravaggio is alleged to have killed murdered Ranuccio Tomassoni, reputedly a ‘wealthy scoundrel’, in the Campo Marzio district of central Rome, not far from the Piazza Monte D'Oro.

The incident led to Caravaggio being condemned to death by order of Pope Paul V, after which he fled the city, first to Naples and then Malta.  When he arrived in Sicily in 1608, forced to take flight again after another violent incident, he is said to have stayed with Minniti, who had by then returned home to Syracuse.  Minniti even found some work for his former employer, including a commission to paint the Burial of Saint Lucy for the church of Santa Lucia alla Badia in Syracuse. 

The influence on Minniti’s painting style led to him becoming known as “the Sicilian Caravaggio” and while his use of chiaroscuro - the dramatic contrast of light with dark shadows - was clearly inherited from Caravaggio, his style evolved into something that was more clearly his own, involving a the lively realism typical of the Baroque period.

The Miracle at Nain, which is on display in
Messina, is one of Minniti's best-known works

Like Caravaggio, Minniti benefited financially from the huge programme of church-building that took place in his lifetime, which meant that he was seldom short of commissions.

His readiness to embrace the Baroque style, characterized by exaggerated motion and clear detail used to evoke drama and exuberance, made him popular with the Catholic Church, who had determined that the arts should communicate religious themes and direct emotional involvement in response to the Protestant Reformation.

Minniti spent much of his time in Syracuse and Messina, as well as Palermo, and also took  commissions in Malta.  Among his surviving works are the Miracle at Nain, which can be seen at the regional art gallery in Messina, the Martyrdom of Saint Lucy and Miracle of Saint Clare, (both at the regional art gallery in Siracusa), Saint Benedict, Madonna with Child and Saints Cosimo and Damian (Church of Saint Mary, Modica), and Saint John the Baptist (Messina). 

Some critics claim that Minniti’s work too often lacked variety, and that he overdid certain motifs. Nonetheless, he is regarded in Sicily as one of the most distinguished painters of his era, one of the few Sicilian painters of the early 17th century whose work is preserved. 

Minniti died at Syracuse in 1640, at the age of 62.

The Sicilian Baroque cathedral in 
Syracuse, rebuilt by Andrea Palma

Travel tip:

The Syracuse of Minniti’s day was largely destroyed in the earthquake of 1693, but it was rebuilt, thanks to the largesse of the island’s Spanish rulers, in a way that makes it one of the most beautiful cities in southeast Sicily, with a wealth of buildings constructed in the architectural style that became known as Sicilian Baroque. There are several ancient ruins, however. The Parco Archeologico Neapolis, situated within the city, comprises the Roman Amphitheatre, the Teatro Greco and the Orecchio di Dionisio, a limestone cave shaped like a human ear. The Museo Archeologico Regionale Paolo Orsi exhibits terracotta artifacts, Roman portraits and Old Testament scenes carved into white marble.  Syracuse as a city is listed by UNESCO as a World Heritage Site.

The Piazza del Popolo is a feature of the
Campo Marzio district of central Rome

Travel tip:

The district of Campo Marzio is situated in the centre of Rome, comprising an area that includes Piazza di Spagna and the Scalinata di Trinità dei Monti - otherwise known as the Spanish Steps - and Piazza del Popolo, as well as the fashion district with the Via dei Condotti at its centre, overlooked by the Pincian Hill.  During the Middle Ages it was the most densely populated quarter of the city. It is bordered by the Tiber, the Quirinal hill in the north and the Capitoline Hill.

Also on this day:

The Feast of the Immaculate Conception

1685: The birth of perfumier Johann Maria Farina

1881: The birth of architect Marcello Piacentini

1925: The birth of former prime minister Arnaldo Forlani

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Jacopo della Quercia - sculptor

Innovative work said to have influenced Michelangelo

Jacopo della Quercia was a leading
influence on many artists

The sculptor Jacopo della Quercia, regarded as one of the most original artists in his field in the early 15th century and an influence on a number of leading figures in the Renaissance including Michelangelo, died on this day in 1438.

Della Quercia’s most notable works include the Fonte Gaia in Piazza del Campo in Siena, the sculptures around the Porta Magna of the church of San Petronio in Bologna, the tomb of Ilaria del Carretto in Lucca Cathedral, and Zacharias in the Temple, a bronze relief for the baptismal font in the church of San Giovanni in Siena.

His attention to proportion and perspective gave his creations a particularly lifelike quality and his innovative work put him at the forefront of his generation.  Art historians consider that his work marked a transition in Italian art from Gothic to Renaissance style that was taken forward by Michelangelo and contemporaries such as Francesco di Giorgio and Niccolò dell’Arca.

Born, it is thought, in 1374, he was baptised as Jacopo di Pietro d’Agnolo di Guarnieri.  He took his working name from his home village, Quercia Grossa - now Quercegrossa - situated a few kilometres outside Siena.  He came from a family of craftsmen; his father, Piero d’Angelo, was also a sculptor, and his brother Priamo was a painter.

The tomb of Ilaria del Carretto in Lucca cathedral
brought together Gothic and Classical styles

Jacopo’s early influences are likely to have been the paintings of Nicola Pisano and Arnolfi di Cambio in Siena’s duomo, and the ancient Roman statues and monuments exhibited in the cemetery at Lucca, where he moved with his family at the age of 12. 

His career began to gather pace in his early twenties. It is thought Della Quercia's earliest work appears in the Lucca cathedral, in which a statue of St John the Evangelist, an impressive Man of Sorrows at the Altar of the Sacrament, and a relief on the tomb of St Aniello. 

In 1401 he entered a competition to design the bronze doors for Florence's Baptistery, along with Lorenzo Ghiberti and Filippo Brunelleschi, who would go on to design the cathedral’s famous dome.  Ghiberti won but the exposure enhanced Della Quercia’s standing further and in 1403 he sculpted the marble Virgin and Child for the Ferrara cathedral, winning considerable acclaim. 

Returning to Lucca in 1406, he received a commission from the city's ruler, Paolo Guinigi, to begin work at the tomb of his second wife Ilaria del Carretto in the Lucca cathedral. The end result, in which an elegantly dressed woman rests on top of a sarcophagus decorated with Roman-style winged cherubs, combines elements of Gothic and Classical styles, and is seen as signalling the imminent dawn of the golden age of Renaissance art.

The Porta Magna of the church of
San Petronio in Bologna

For all his brilliance, Della Quercia had a tendency to frustrate his clients by accepting too many commissions simultaneously, which led to him working on one at the expense of another.  For example, while the Fonte Gaia was completed in five years between 1414 and 1419, he may have been commissioned to do the work as early as 1406, certainly 1409.  At the same time, however, he was working on the statue of an apostle for the exterior of the cathedral at Lucca, the Trenta altar for the Church of San Frediano in Lucca, and tomb slabs for Lorenzo Trenta and his wife.

He may have started working in earnest on the Siena fountain later still had he not had to flee Lucca in haste in 1413, having been accused of crimes including robbery and rape for which one of his assistants spent three years in jail.

The original commission was to build a new fountain in Siena’s Piazza del Campo, to replace one that featured a statue of the pagan goddess Venus that had been blamed for an outbreak of plague in the city.  Della Quercia came up with a rectangular fountain built in white marble, dedicated to the Virgin, with statues carved into the three sides. It remains an attraction for tourists, although what they see now is a copy by Tito Sarrocchi, installed in the 19th century. The original is in the loggia of the town hall.

Similarly, Della Quercia was commissioned to create two gilt bronze reliefs for the baptismal font in San Giovanni in Siena but completed only one, the second being assigned to Donatello.

The design of the round-arched Porta Magna of the San Petronio church in Bologna, for which he accepted a commission in 1425, would keep him busy for much of the last 13 years of his life and it is considered by some to be his masterwork. 

The sculpture around the portal features 10 scenes from Genesis, including The Creation of Eve, five scenes from the early life of Christ, reliefs of the prophets and the statues of the Virgin and Child with Saints Petronius and Ambrose,  The sense of depth in the work, on which he was assisted by artists from his Bolognese workshop such as Cino di Bartolo, has been compared with the paintings of Masaccio.  Michelangelo, who visited Bologna in 1494, conceded that his Genesis on the Sistine Chapel ceiling was based on Della Quercia’s scenes. 

While working at the Porta Magna, he was asked to design the Loggia di San Paolo, close to the Piazza del Campo, but died before he could finish the commission.  In 1435 he was knighted by the government of Siena and appointed to a prestigious role overseeing Siena Cathedral.

Della Quercia’s biography is included in Giorgio Vasari’s seminal work, Lives of the Most Excellent Painters, Sculptors, and Architects. After his death, he was buried in the San Agostino church in Siena.

The Fonte Gaia is situated in the historic
Piazza del Campo in Siena

Travel tip:

Siena is perhaps best known as the venue for the historic horse race, the Palio di Siena. The race takes place in the Piazza del Campo, a shell-shaped open area which is regarded as one of Europe’s finest medieval squares. It was established in the 13th century as an open marketplace on a sloping site between the three communities that eventually merged to form the city of Siena.  The city's cathedral, with a pulpit designed by Nicola Pisani, is considered a masterpiece of Italian Romanesque-Gothic architecture.

The Basilica di San Petronio is the largest
brick built Gothic church in the world

Travel tip:

The Basilica di San Petronio is the main church of Bologna, located in Piazza Maggiore in the centre of the city. It is the largest brick-built Gothic church in the world. Building work began on the church in 1390 and it was dedicated to San Petronio, who had been the Bishop of Bologna in the fifth century. The facade was designed by Domenico da Varignana and started in 1538 by Giacomo Ranuzzi but was never finished. Despite being Bologna’s most important church, San Petronio is not the city’s cathedral. This is the Duomo di San Pietro, which stands nearby on Via Indipendenza. In the 16th century, the basilica staged the coronation of Charles V to Holy Roman Emperor by Pope Clement VII.

Also on this day:

1950: The birth of television presenter Mara Venier

1951: The birth of football manager Claudio Ranieri

1962: The birth of jazz musician Dado Moroni

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