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Sassoferrato was apprenticed under his father, the painter
Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in Sassoferrato. The rest of Giovanni's training is undocumented but it is thought that he worked under the Bolognese
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Sassoferrato was also active as a copyist and reproduced paintings by other masters. His copying style was highly free and individualistic and he rather modified the original compositions or their dimensions than slavishly copy.
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also influenced
Sassoferrato. In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master. His paintings also show the influence of
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There are over three hundred works by
Sassoferrato in public collections in 2006 throughout the world including almost all of his extant drawings in the British
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Sassoferrato's work was held in high regard through to the mid-19th century. His paintings were sometimes believed to be contemporary with the
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he seems to have concentrated on producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the
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Page 699 in
Russell, F.(1977). Sassoferrato and his Sources: a Study of Seicento Allegiance. The Burlington Magazine, CXIX pp 694–700.
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The details of
Giovanni Battista Salvi's biography are very sparse. He was born in the small town of Sassoferrato in the
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archaizing painting with Guido Reni leading the way in generating a surge of auction interest also in
Sassoferrato.
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of the
Catholic Church. Apart from his many smaller works, his paintings include some at the Benedictine convent of
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Tiziana
Mancini. "Sassoferrato." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 31 Oct. 2016
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44:(August 25, 1609 – August 8, 1685), also known as Giovanni Battista Salvi, was an Italian
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167:(1643). In 1683 Cardinal Chigi presented Sassoferrato's self-portrait to
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Sassoferrato died in 1685. His will is dated June 29 of the same year.
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The late 20th century saw a revival of interest in
Italian
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