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describes
Meldolla as well adapted to the Mannerist vocabulary, and says that while he was "able to invent a Venetian Maniera...he was strangely uncreative in the more ordinary workings of artistic invention." Later in the 1550s, "occasionally, the sensibility – too receptive, almost feminine – that
235:
inclined
Schiavone towards imitation brought him to the verge of echo of the larger personality" (Titian). Other works have attributions disputed between him and Tintoretto. Few of his paintings are documented; this may be because, as Vasari states, he mostly worked for private clients.
242:
he was similarly innovative. His technique was unlike that of any contemporary: unsystematically he used dense webs of light, fine, multidirectional hatching to create a tonal continuum embracing form, light, shadow, and air. His etchings are the only real equivalent in
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and Titian's compositional elements with his own interest in atmosphere, effecting a "fusion of form with a dense atmosphere in a pictorial fabric whose elements tend to lose their separate indenties".
199:. He worked in fresco, panel painting, and etching (teaching himself to etch by working initially from drawings by Parmigianino). By 1540, he was well enough established in Venice that
184:
in the
Dalmatian city, and therefore moved there with his family from Romagna. The Meldolla family continued to own property in Romagna until the early 16th century.
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the people born in
Dalmatia and Istria arriving to Venice; i.e. including the Italians and Venetians themselves. Indeed, in the case of Andre Meldolla, the nickname
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211:, "he was also a strikingly daring exponent of Venetian painting techniques", and ultimately combined both in his works, influencing
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among others. His works "shocked some contemporaries and stimulated others". By the 1550s, he had achieved a new synthesis of
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of later 16th-century
Venetian painting modes, and his technical experiments were emulated by 17th-century etchers such as
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422:(derived from the Italian surname Meldola, or Meldolla, itself from the city of origin of both of his parents,
231:
418:
Because of his birthplace, Lo
Schiavone appears in Croatian literature and history of art exclusively as
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454:; however, it was not necessarily an ethnonym, as with this word the Venetians scornfully referred to
570:
168:, the son of a garrison commander of a post nearby. Both of his parents came from the small town of
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Italian
Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School
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is due to his geographical provenance, and was given to him after he returned to Italy.
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commissioned him a large battle picture (which the
Florentine author mentions in his
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192:
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elements, a relative rarity in Venice, with much influence from the mainstream of
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195:, but this has been doubted. There are unproven claims that he trained with
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426:), which is the Croatian version of his name. His Italian nickname,
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Birmingham Museum & Art
Gallery - Biography of Andrea Schiavone
207:). Although initially much influenced by Parmigianino and Italian
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72:
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Richardson also insists on his importance as an etcher: "In
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476:
Freedberg, Sydney J. (1993). Pelican History of Art (ed.).
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Archivio storico per Trieste, l'Istria e il Trentino v. 3
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Meldolla was born in the Venetian-ruled city of Zara in
300:
La Dalmazia nell'arte italiana, venti secoli di civiltĂ
191:stated, in a book of 1584, that he was a pupil of
489:. Oxford and New York: Oxford University Press.
8:
518:. New York: The Metropolitan Museum of Art.
180:. His father, Simon, had been employed as a
546:Andrea Schiavone, The J. Paul Getty Museum
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311:
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62:Andrija Medulić/Andrea Schiavone bust in
187:He trained either in Zara or in Venice.
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438:usually indicated origins in parts of
352:"MELDOLLA, Andrea, detto lo Schiavone"
551:Giorgio Vasari's Lives of the Artists
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510:Zeri, F. & Gardner, E. (1973).
480:. Penguin Books. pp. 532–534.
25:
84:by Schiavone after a painting by
30:For the Italian footballer, see
485:Richardson, Francis E. (1980).
365:Richardson, Francis L. (1980).
132:, active mainly in the city of
369:. Clarendon Press. p. 6.
253:Giovanni Benedetto Castiglione
1:
586:16th-century Italian painters
286:The Oxford Dictionary of Art.
42:Holy Family with St Catherine
32:Andrea Schiavone (footballer)
478:Painting in Italy, 1500-1600
430:, literally meant "Slav" in
498:. pp. 1502–04 at 1503.
333:Del Lungo, Isidoro (1886).
120:, born in Dalmatia, in the
114:Italian Renaissance painter
27:Italian painter (1510–1563)
617:
596:Italian Mannerist painters
298:Dudan, Alessandro (1922).
29:
530:(see index; plates 56-57)
112:(c. 1510/15–1563) was an
450:) under the rule of the
78:The Crowning with thorns
494:Richardson, Francis E.
232:Sydney Joseph Freedberg
172:, close to the city of
302:. Treves. p. 451.
136:. His style combined
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53:Conversion of St. Paul
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591:Italian male painters
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601:Painters from Venice
283:"Schiavone, Andrea."
197:Bonifazio de Pitati
110:Andrea Lo Schiavone
581:Dalmatian Italians
452:Republic of Venice
350:Bortolotti, Luca.
320:"MELDOLLA, Andrea"
318:Bortolotti, Luca.
288:Web. 27 Apr. 2011.
189:Gian Paolo Lomazzo
128:) to parents from
122:Republic of Venice
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576:People from Zadar
262:Meldolla died in
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354:. Treccani.
322:. Treccani.
245:printmaking
560:Categories
270:References
217:Tintoretto
460:Schiavone
436:Schiavone
428:Schiavone
266:in 1553.
257:Rembrandt
209:Mannerism
182:constable
152:Biography
138:Mannerist
444:Dalmatia
158:Dalmatia
96:Croatian
470:Sources
440:Croatia
424:Meldola
240:etching
225:Raphael
178:Romagna
170:Meldola
166:Croatia
126:Croatia
82:woodcut
68:Croatia
522:
448:Istria
373:
264:Venice
219:, and
213:Titian
160:, now
146:Titian
134:Venice
118:etcher
86:Titian
406:Notes
205:Lives
174:Forlì
162:Zadar
64:Zadar
520:ISBN
371:ISBN
255:and
116:and
456:all
446:or
259:".
176:in
164:in
108:or
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308:^
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