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331:(c. 1535–1540; London, National Gallery), one of several versions Savoldo painted of this subject, is a masterpiece of lighting effects. The Magdalene is shrouded in a white satin mantle that covers her head, leaving her face in shadow, with the silvery expanse of drapery relieved by the merest glimpse of a red sleeve.
67:
About 40 paintings by
Savoldo are known in all, six of them portraits; only a handful of drawings by him are known. He was highly regarded in his own lifetime; several repetitions of works were commissioned from him, and copies of his work made by others. He slipped from general awareness, however,
265:("very old"). After his death, he was almost entirely forgotten for three centuries. A rediscovery of his oeuvre began in the mid-nineteenth century; the art historian Creighton Gilbert says that Savoldo was "one of the last artists to be raised to the ranks of the major High Renaissance masters".
175:, Savoldo shows the saint with his hands clasped in prayer, fleeing from a hellish vision into a daylight pastoral landscape. Like other northern Italian painters of the time, Savoldo was interested in Flemish painting, particularly the nightmarish monsters of the
300:
and
Flemish painters. Among artists of his time, he was unusual in his marked preference for compositions showing a single figure, or few figures in a quiet setting. His corpus of works is not large, comprising about 40 paintings and ten drawings.
64:, and for the sober realism of his works, which are mostly religious subjects, with a few portraits. His portraits are given interest by their accessories or settings; "some even look like extracts from larger narratives".
134:
720:
214:. From the 1530s dates a Nativity at the National Gallery of Art in Washington, which seems influenced by the lambent painting of the same subject by his contemporary,
288:
Savoldo's paintings show eclectic influences, and combine
Venetian coloration with Lombard modeling to achieve a quiet lyricism. He appears to have been influenced by
183:, which influenced his depiction of the tormentors in this work. As the saint flees, his hands point to a monastery, a reminder that he was the father of
744:
351:
166:
72:, by the art trade. Awareness of his oeuvre revived in the 19th century, though the dating of many paintings remains controversial among specialists.
261:, Duke of Milan, in 1534. Savoldo had a Dutch wife. The exact date of his death is not known: in 1548 he was cited as still living in Venice, though
713:
880:
870:
687:
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Della Vita delle pitture di
Lattanzio Gambara; Memorie Storiche aggiuntevi brevi notizie intorno a' più celebri ed eccelenti pittori Bresciani
80:
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695:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Savoldo (see index)
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38:
312:), which Andrea Bayer has called "one of the most evocative nocturnal scenes in Italian painting", prefigures
273:
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60:, although he also worked in other cities in northern Italy. He is noted for his subtle use of color and
860:
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626:
223:
184:
187:. These works were appreciated by the commissioners from Venice, where Savoldo relocated before 1521.
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257:. Savoldo may have spent some years of his life in Milan, and is known to have made paintings for
677:
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On June 15, 1524, Savoldo signed a contract for an altarpiece for the church of San
Domenico in
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682:
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139:
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99:, but little is known about his early years. Some sources claim that he was known as
230:), while in 1537–1538 he executed the altarpiece for the main altar of Santa Croce,
594:
North of the
Apennines: Sixteenth-century Italian painting in Venice and the Veneto
481:
235:
304:
Savoldo was noted during his lifetime for his mastery of nocturnal effects. His
61:
17:
313:
254:
243:
206:
for the
Brescian family Averoldi, probably the depiction of that saint in the
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246:
of Venice and the church of San
Barnaba of Brescia, as well as the famous
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497:
108:
324:, with a luminescent gown standing in contrast to the dark background.
231:
96:
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and many of his works were assigned to more famous artists, especially
693:
Painters of reality: the legacy of
Leonardo and Caravaggio in Lombardy
592:
Bayer, A., & Metropolitan Museum of Art (New York, N.Y.). (2005).
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and, in his preoccupation with clearly defined shapes in light, by
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104:
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29:
702:
643:, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams),
618:
Freedberg, Sydney J. (1993). Pelican
History of Art (ed.).
633:. Oxford University Press. Web. Retrieved June 13, 2013.
565:
Bayer & Metropolitan Museum of Art (2005), p. 33
551:
Bayer & Metropolitan Museum of Art (2005), p. 32
827:
736:
678:
Giovanni Girolamo Savoldo, Encyclopaedia Britannica
658:The Sixteenth Century Italian Paintings, Volume I
613:. Spinelli e Valgiti, Brescia. pp. 186–187.
111:painters' guild. In this period he finished the
472:(c. 1540), Pinacoteca Tosio Martinengo, Brescia
714:
688:Timken Museum of Art – Torment of St Anthony
656:, National Gallery Catalogues (new series):
8:
52:(c. 1480–1485 – after 1548), was an Italian
660:, 2004, National Gallery Publications Ltd,
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596:. New York: Metropolitan Museum of Art.
683:Web Gallery of Art Biography and Images
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385:Saint Anthony and Saint Paul as Hermits
622:. Penguin Books Ltd. pp. 340–344.
343:Category:Paintings by Girolamo Savoldo
253:Savoldo's students in Venice included
27:Italian painter (c. 1480–1485 – 1548)
7:
631:Grove Art Online. Oxford Art Online
607:Cristiani, Federico Nicoli (1807).
165:. Also from the same period is his
641:History of Italian Renaissance Art
25:
761:San Domenico di Pesaro Altarpiece
411:San Domenico di Pesaro Altarpiece
629:. "Savoldo, Giovanni Girolamo."
171:. In this work, which is in the
107:, and by 1508 he had joined the
745:The Temptation of Saint Anthony
492:; Contini-Bonacossi Collection/
440:(c. 1529), Louvre Museum, Paris
352:The Temptation of Saint Anthony
87:, c. 1535–1540. oil on canvas,
753:The Temptation of Saint Jerome
533:Penny, 337–339; Hartt, 617–618
364:The Temptation of Saint Jerome
161:, traditionally identified as
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881:16th-century Italian painters
871:15th-century Italian painters
113:Rest on the Flight into Egypt
37:, c. 1513–1520, oil on wood,
891:Italian Renaissance painters
817:Portrait of a Young Flautist
620:Painting in Italy, 1500–1600
469:Portrait of a Young Flautist
242:paintings for the church of
218:. In 1533 Savoldo painted a
793:Saint Matthew and the Angel
462:Pinacoteca Tosio Martinengo
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306:Saint Matthew and the Angel
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202:). In 1527, he completed a
168:Temptation of Saint Anthony
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809:Adoration of the Shepherds
777:Portrait of a Clad Warrior
457:Adoration of the Shepherds
437:Portrait of a Clad Warrior
401:Metropolitan Museum of Art
316:'s famous painting in the
310:Metropolitan Museum of Art
282:Metropolitan Museum of Art
158:Portrait of a Clad Warrior
730:Giovanni Girolamo Savoldo
238:). From 1540 are the two
56:painter active mostly in
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220:Madonna with Four Saints
39:Kunsthistorisches Museum
389:Gallerie dell'Accademia
379:National Gallery of Art
280:, 1534, oil on canvas,
155:In 1515 he painted the
149:Gallerie dell'Accademia
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117:Elijah Fed by the Raven
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35:The Mourning of Christ
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769:Tobias and the Angel
425:Tobias and the Angel
375:Elijah in the Desert
359:, San Diego, CA, USA
357:Timken Museum of Art
173:Timken Museum of Art
103:. By 1506 he was in
95:Savoldo was born in
866:People from Brescia
415:Pinacoteca di Brera
259:Francesco II Sforza
196:Pinacoteca di Brera
140:Saint Anthony Abbot
50:Girolamo da Brescia
627:Gilbert, Creighton
298:Cima da Conegliano
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234:(destroyed during
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101:Girolamo Bresciano
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430:Galleria Borghese
381:, Washington, USA
318:Contarelli Chapel
222:in the church of
144:Saint Paul Hermit
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428:(c. 1527),
387:(c. 1520),
377:(c. 1520),
62:chiaroscuro
850:Categories
666:1857099087
649:0500235104
524:Penny, 338
512:References
452:, Florence
314:Caravaggio
284:, New York
255:Paolo Pino
250:painting.
244:San Giobbe
129:Deposition
125:Washington
109:Florentine
820:(c. 1540)
812:(c. 1540)
788:(c. 1530)
780:(c. 1529)
772:(c. 1527)
737:Paintings
464:, Brescia
341:See also
263:vecchione
248:Magdalene
216:Correggio
127:), and a
76:Biography
70:Giorgione
602:62121606
498:Florence
405:New York
399:(1534),
391:, Venice
371:, Moscow
269:Overview
240:Nativity
151:, Venice
91:, London
41:, Vienna
828:Related
587:Sources
579:Gilbert
308:(1534;
232:Brescia
179:artist
177:Flemish
97:Brescia
664:
647:
600:
506:Berlin
494:Uffizi
490:London
432:, Rome
290:Titian
228:Verona
212:London
192:Pesaro
58:Venice
419:Milan
407:, USA
200:Milan
105:Parma
662:ISBN
645:ISBN
598:OCLC
327:His
322:Rome
292:and
226:(in
142:and
320:in
852::
639:,
570:^
556:^
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715:t
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