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228:: three scenes in its grand council hall. By the mid-1580s he had digested Tintoretto's versatile figure postures and Titian's thick surfaces, emphasis on light, and loose brushstroke. In Palma Giovane's output, Freedberg detects also "an occasional discursive opulence à la
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He worked alongside
Veronese and Tintoretto on the decorations in the Doge's Palace where he came to know fully the Venetian tradition. From 1580-90 he painted cycles of large canvases either for Venetian Schools or sacred buildings (the sacristies of
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Rejecting
Mannerism in the 1580s, he embraced a reformist naturalism. He varied the ingeniously synthesised amalgam according to subject matter and patrons' own eclectic and conservative tastes, with "virtuoso skill and a facile intelligence".
210:, recognized Palma's talents, supporting him for four years and sending him to Rome, where he remained until about 1572. Shedding most remnants of Roman manner after his return to Venice, Palma adopted the inescapable models and mannerisms of
271:). Thanks to the intelligent way they quoted from Tintoretto and their own narrative drive, these are Palma the Younger's best works. After this he went back to official commissions at the Doge's Palace. Among these there is the portrait of
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Palma il
Giovane went on to organize his own, large studio which he used to produce a repetitive series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic. One of these works is
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characterises him among
Venetian painters as "the only painter of this generation to exhibit a semblance of vitality, even within formulae based mostly upon Tintorettesque style." (Freedberg 1993:560).
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and who after
Bonifazio's death (1553) inherited Bonifacio's shop and clientele; the younger Palma seems to have polished his style making copies after
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Bonifacio inherited the elder Palma's workshop in 1528; see Philip
Cottrell, "The Artistic Parentage of Palma Giovane"
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in the
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Palma was born in Venice. Born into a family of painters, he was the great-nephew of the painter
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27:Venetian painter (1548/50–1628)
576:Oratorio dei Crociferi, Venice
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82:14 October 1628 (aged 77–80)
564:Martyrdom of Saint Lawrence
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636:in index; plates 52-53).
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267:, and the
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177:Rudolph II
165:Tintoretto
148:or simply
421:Pope St.
183:Biography
578:1586–87.
475:See also
387:, 1605,
368:Killing
281:Bonham's
230:Veronese
202:In 1567
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120:Painting
574:in the
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261:Gesuiti
234:Bassano
169:Bergamo
110:Italian
55:1548/50
423:Pius V
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142:Jacopo
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301:Pietà
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