Nicolas Poussin
Santa Francesca Romana, c. 1657
Oil on canvas
Musée du Louvre (France - Paris)
Frances of Rome, Obl.S.B., (Italian: Santa Francesca Romana) (1384 – March 9, 1440) is an Italian saint who was a wife, mother, mystic, organizer of charitable services and a Benedictine oblate who founded a religious community of oblates, who share a common life without religious vows.
Frances was born in 1384 in Rome to a wealthy and aristocratic couple, and christened at the Church of St. Agnes on the famed Piazza Navona. When she was about the age of twelve, her parents forced her to marry Lorenzo Ponziani, commander of the papal troops of Rome and member of an extremely wealthy family. Although the marriage had been arranged, it was a happy one, lasting for forty years.
Frances visited the poor and took care of the sick, inspiring other wealthy women of the city to do the same. Soon after her marriage, Frances fell seriously ill. Her husband called a man in who dabbled in magic, but Frances drove him away, and later recounted to Vannozza that St. Alexis had appeared to her and cured her.
Giovanni Battista Gaulli (1639–1709)
Frances of Rome giving alms, c. 1675
Oil on canvas
Getty museum, Los Angeles
Giovanni Battista Gaulli (8 May 1639 – 2 April 1709), also known as Baciccio, was an Italian artist working in the High Baroque and early Rococo periods. He is best known for his grand illusionistic vault frescos in the Church of the Gesù in Rome, Italy. His work was influenced by Gian Lorenzo Bernini.
Gaulli was born in Genoa, and initially apprenticed with Luciano Borzone. In mid-17th century. Gaulli's Genoa was a cosmopolitan Italian artistic center open to both commercial and artistic enterprises from north European countries. Gaulli's earliest influences would have come from an eclectic mix of these foreign painters and other local artists whose warm palette Gaulli adopted. In the 1660s, he experimented with the cooler palette and linear style of Bolognese classicism.
He first introduced him to Gianlorenzo Bernini in Rome, who promoted him. He found patrons among the Genoese, and was accepted into the Roman artists' guild, where he was to later hold several offices. The next year, he received his first public commission for an altarpiece, in the church of San Rocco, Rome. He received many private commissions for mythological and religious works.
At his height, Gaulli was one of Rome's most esteemed portrait painters. Gaulli died in Rome, shortly after 26 March 1709, probably 2 April. More
Giovanni Battista Gaulli (1639–1709)
An Apostle
Oil on canvas
74 by 60.5 cm.; 29 1/8 by 23 3/4 in.
Private Collection
When her mother-in-law died, Frances became mistress of the household. During a time of flood and famine, she turned part of the family's country estate into a hospital, and distributed food and clothing to the poor.
During a period of forced exile, much of Lorenzo's property and possessions were destroyed. In the course of one occupation of Rome by Neapolitan forces in the early part of the century, he was wounded so severely that he never fully recovered. Frances nursed him throughout the rest of his life.
Frances experienced other sorrows in the course of her marriage with Lorenzo Ponziani. They lost two children to the plague. Chaos ruled the city in that period of neglect by the pope and the ongoing warfare between him and the various forces competing for power on the Italian peninsula devastated the city. The city of Rome was largely in ruins. Frances again opened her home as a hospital and drove her wagon through the countryside to collect wood for fire and herbs for medicine. It is said she had the gift of healing, and more than sixty cases were attested to during the canonization proceedings.
Giovanni Antonio Galli, called Spadarino (1585 - 1652)
Santa Francesca Romana con l’angelo, c. 1600s
Oil on canvas
Italian painter, Giovanni Antonio Galli, called Spadarino (1585 - 1652). He was the son of a swordsmith or frabbricante di spade, earning him the moniker, "Spadarino", or roughly "Little Sword". His family were from Florence. He was recorded alongside Bartolomeo Manfredi, Jusepe de Ribera, Cecco del Caravaggio and Carlo Saraceni as one of the closest of Caravaggio's followers c. 1620.
He is documented in 1603 as "painter in the Palazzo San Marco, in the house of Cardinal Dolfin" and was still serving the Cardinal in 1620. The few other documents that relate to him attest to his presence in Rome in 1597, 1617, 1620, 1638, 1645 and 1651.
His works are of concentrated simplicity, remote from the violence of Caravaggio and characterized rather by the tender relationship between the figures and the softness and delicacy of the shadows. More
On August 15, 1425, the feast of the Assumption of Mary, she founded the Olivetan Oblates of Mary, a confraternity of pious women. In March 1433, she founded a monastery at Tor de' Specchi, near the Campidoglio, in order to allow for a common life by those members of the confraternity. This monastery remains the only house of the Institute. The community later became known simply as the Oblates of St. Frances of Rome.
Frances herself remained in her own home, nursing her husband for the last seven years of his life from wounds he had received in battle. When he died in 1436, she moved into the monastery and became the superior. She died in 1440 and was buried in Santa Maria Nova. More
Michelangelo Caravaggio
St. Jerome writing, c. 1607
Oil on canvas
Height: 117 cm (46.1 in). Width: 157 cm (61.8 in).
St. John's Co-Cathedral
Jerome (c. 347 – 30 September 420) was a priest, confessor, theologian and historian. He was the son of Eusebius, born at Stridon, a village near Emona on the border of Dalmatia and Pannonia, then part of northeastern Italy. He is best known for his translation of most of the Bible into Latin (the translation that became known as the Vulgate), and his commentaries on the Gospels. His list of writings is extensive.
The protégé of Pope Damasus I, who died in December of 384, Jerome was known for his teachings on Christian moral life, especially to those living in cosmopolitan centers such as Rome. In many cases, he focused his attention to the lives of women and identified how a woman devoted to Jesus should live her life. This focus stemmed from his close patron relationships with several prominent female ascetics who were members of affluent senatorial families.
He is recognised as a Saint and Doctor of the Church by the Roman Catholic Church, the Eastern Orthodox Church, the Lutheran Church, and the Anglican Communion.[6] His feast day is 30 September. More
Michelangelo Merisi da Caravaggio (29
September 1571 in Caravaggio – 18 July 1610) was an Italian painter
active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings,
which combine a realistic observation of the human state, both physical and
emotional, with a dramatic use of lighting, had a formative influence on Baroque
painting.
Caravaggio trained as a painter in Milan under Simone Peterzano who
had himself trained under Titian. In his twenties Caravaggio moved to Rome
where there was a demand for paintings to fill the many huge new churches and
palazzos being built at the time. It was also a period when the Church was
searching for a stylistic alternative to Mannerism in religious art that was
tasked to counter the threat of Protestantism. Caravaggio's innovation was a
radical naturalism that combined close physical observation with a dramatic,
even theatrical, use of chiaroscuro which came to be known as tenebrism (the
shift from light to dark with little intermediate value).
He gained attention in the art scene of Rome in 1600 with the
success of his first public commissions, the Martyrdom of Saint Matthew and
Calling of Saint Matthew. Thereafter he never lacked commissions or patrons,
yet he handled his success poorly. He was jailed on several occasions,
vandalized his own apartment, and ultimately had a death sentence pronounced
against him by the Pope after killing a young man, possibly unintentionally, on
May 29, 1606. He fled from Rome with a price on his head. He was involved in a
brawl in Malta in 1608, and another in Naples in 1609, possibly a deliberate
attempt on his life by unidentified enemies. This encounter left him severely
injured. A year later, at the age of 38, he died under mysterious circumstances
in Porto Ercole in Tuscany, reportedly from a fever while on his way to Rome to
receive a pardon.
Famous while he lived, Caravaggio was forgotten
almost immediately after his death, and it was only in the 20th century that
his importance to the development of Western art was rediscovered. More
Roman School, circa 1700
The Madonna and Child with the Infant Saint John the Baptist
Oil on copper
21.2 x 16.2cm (8 3/8 x 6 3/8in)
Private Collection
Lucas Cranach the Elder (1472–1553)
Virgin and Child adored by the infant St John, circa 1512
Oil and tempera on lime
75.9 × 59.4 cm (29.9 × 23.4 in)
Private Collection
Lucas Cranach the Elder (c. 1472 – 16
October 1553) was a German Renaissance
painter and printmaker in woodcut and engraving. He was court painter to the
Electors of Saxony for most of his career, and is known for his portraits, both
of German princes and those of the leaders of the Protestant Reformation, whose
cause he embraced with enthusiasm, becoming a close friend of Martin Luther. He
also painted religious subjects, first in the Catholic tradition, and later
trying to find new ways of conveying Lutheran religious concerns in art. He
continued throughout his career to paint nude subjects drawn from mythology and
religion. He had a large workshop and many works exist in different versions;
his son Lucas Cranach the Younger, and others, continued to create versions of
his father's works for decades after his death. Lucas Cranach the Elder has
been considered the most successful German artist of his time. More
North Italian School, late 16th Century, after Tiziano Vecelli, called Titian
Saint Peter Martyr
Oil on canvas
245.5 x 150.5cm (96 5/8 x 59 1/4in).
Private Collection
Saint Peter of Verona O.P. (1206 – April 6, 1252), also known as Saint Peter Martyr, was a 13th-century Italian Catholic priest. He was a Dominican friar and a celebrated preacher. He served as Inquisitor in Lombardy, was killed by an assassin, and was canonized as a Catholic saint 11 months after his death, making this the fastest canonization in history.
He was born in the city of Verona into a family perhaps sympathetic to the Cathar heresy. Peter went to a Catholic school, and later to the University of Bologna, where he is said to have maintained his orthodoxy and at the age of fifteen, met Saint Dominic. Peter joined the Order of the Friars Preachers (Dominicans) and became a celebrated preacher throughout northern and central Italy.
From the 1230s on, Peter preached against heresy, and especially Catharism, which had many adherents in thirteenth-century Northern Italy. Because of this, a group of Milanese Cathars conspired to kill him. They hired an assassin, one Carino of Balsamo. Carino's accomplice was Manfredo Clitoro of Giussano. On April 6, 1252, when Peter was returning from Como to Milan, the two assassins followed Peter to a lonely spot near Barlassina, and there killed him and mortally wounded his companion, a fellow friar named Dominic.
Carino struck Peter's head with an axe and then attacked Domenico. Peter rose to his knees, and recited the first article of the Symbol of the Apostles (the Apostle's Creed). Offering his blood as a sacrifice to God, according to legend, he dipped his fingers in it and wrote on the ground: "Credo in Unum Deum", the first words of the Nicene Creed. The blow that killed him cut off the top of his head, but the testimony given at the inquest into his death confirms that he began reciting the Creed when he was attacked.
Dominic was carried to Meda, where he died five days afterwards. More
Tiziano Vecelli or Tiziano Vecellio,
or Titian (1488/1490 – 27 August 1576), was an Italian painter, the most important member of the 16th-century
Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto,
Republic of Venice). During his lifetime he was often called da Cadore, taken
from the place of his birth.
Recognized by his contemporaries as "The Sun
Amidst Small Stars", Titian was one of the most versatile of Italian
painters, equally adept with portraits, landscape backgrounds, and mythological
and religious subjects. His painting methods, particularly in the application
and use of color, would exercise a profound influence not only on painters of
the Italian Renaissance, but on future generations of Western art.
During the course of his long life,
Titian's artistic manner changed drastically but he retained a lifelong
interest in color. Although his mature works may not contain the vivid,
luminous tints of his early pieces, their loose brushwork and subtlety of tone
are without precedent in the history of Western painting. More
CARAVAGESQUE SCHOOL
THE ADORATION OF THE SHEPERDS, CIRCA 1640
Oil on canvas
180 x 125 cm ; 70 7/8 by 49 1/4 in
Private Collection
The Adoration of the Shepherds, in the Nativity of Jesus in art, is a scene in which shepherds are near witnesses to the birth of Jesus in Bethlehem, arriving soon after the actual birth. It is often combined in art with the Adoration of the Magi, in which case it is typically just referred to by the latter title. The Annunciation to the Shepherds, when they are summoned by an angel to the scene, is a distinct subject.
The Adoration of the Shepherds is based on the account in the Luke 2, not reported by any other Canonical Gospel, which states that an angel appeared to a group of shepherds, saying that Christ had been born in Bethlehem, followed by a crowd of angels saying Glory to God in the highest, peace on earth to men of good will. This Annunciation to the shepherds forms a distinct subject in Christian art and is sometimes included in a Nativity scene as a peripheral feature (even though it occurs prior to the adoration itself), as in the 1485 scene by Domenico Ghirlandaio, where it can be seen in the upper left corner. Ghirlandaio also shows a procession of Magi about to arrive with their gifts. More
The
Caravaggisti (or the "Caravagesques") were stylistic followers of the
16th-century Italian Baroque painter Caravaggio. His influence on the new
Baroque style that eventually emerged from Mannerism was profound. Caravaggio
never established a workshop as most other painters did, and thus had no school
to spread his techniques. Nor did he ever set out his underlying philosophical
approach to art, the psychological realism which can only be deduced from his
surviving work. But it can be seen directly or indirectly in the work of
Rubens, Jusepe de Ribera, Bernini, and Rembrandt. Famous while he lived,
Caravaggio himself was forgotten almost immediately after his death. Many of
his paintings were reascribed to his followers, such as The Taking of Christ,
which was attributed to Honthorst until 1990. It was only in the 20th century
that his importance to the development of Western art was rediscovered. In the
1920s Roberto Longhi once more placed him in the European tradition:
"Ribera, Vermeer, La Tour and Rembrandt could never have existed without
him. And the art of Delacroix, Courbet and Manet would have been utterly
different". The influential Bernard Berenson stated: "With the
exception of Michelangelo, no other Italian painter exercised so great an
influence." More
Jacob de Wet (I) (fl. 1632–1675)
German: Parable of the Workers in the Vineyard, 2 Third 17C.
Color on panel
50 × 75.5 cm (19.7 × 29.7 in)
Museum of Fine Arts (Budapest)
The Parable of the Workers in the Vineyard (also called the Parable of the Laborers in the Vineyard or the Parable of the Generous Employer) is a parable of Jesus which appears in the Gospel of Matthew in the New Testament.
In Matthew Matt 20:1–16, Jesus says that any "laborer" who accepts the invitation to the work in the vineyard (said by Jesus to represent the Kingdom of Heaven), no matter how late in the day, will receive an equal reward with those who have been faithful the longest. More
For the kingdom of heaven is like unto a man that is an householder, which went out early in the morning to hire labourers into his vineyard. And when he had agreed with the labourers for a penny a day, he sent them into his vineyard. And he went out about the third hour, and saw others standing idle in the marketplace, And said unto them; Go ye also into the vineyard, and whatsoever is right I will give you. And they went their way. Again he went out about the sixth and ninth hour, and did likewise. And about the eleventh hour he went out, and found others standing idle, and saith unto them, Why stand ye here all the day idle? They say unto him, Because no man hath hired us. He saith unto them, Go ye also into the vineyard; and whatsoever is right, that shall ye receive. So when evening was come, the lord of the vineyard saith unto his steward, Call the labourers, and give them their hire, beginning from the last unto the first.
Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669)
The Parable of the Laborers in the Vineyard. 1637
Oil on panel
The Hermitage, St. Petersburg, Russia
Rembrandt Harmenszoon van Rijn (15
July 1606 – 4 October 1669) was a Dutch painter and etcher. He is
generally considered one of the greatest painters and printmakers in European
art and the most important in Dutch history. His contributions to art came in a
period of great wealth and cultural achievement that historians call the Dutch
Golden Age when Dutch Golden Age painting, although in many ways antithetical
to the Baroque style that dominated Europe, was extremely prolific and
innovative, and gave rise to important new genres in painting.
In his paintings and prints he exhibited knowledge of
classical iconography, which he molded to fit the requirements of his own
experience; thus, the depiction of a biblical scene was informed by Rembrandt's
knowledge of the specific text, his assimilation of classical composition, and
his observations of Amsterdam's Jewish population. Because of his empathy for
the human condition, he has been called "one of the great prophets of
civilization. More
And when they came that were hired about the eleventh hour, they received every man a penny. But when the first came, they supposed that they should have received more; and they likewise received every man a penny. And when they had received it, they murmured against the goodman of the house, Saying, These last have wrought but one hour, and thou hast made them equal unto us, which have borne the burden and heat of the day. But he answered one of them, and said, Friend, I do thee no wrong: didst not thou agree with me for a penny? Take that thine is, and go thy way: I will give unto this last, even as unto thee. Is it not lawful for me to do what I will with mine own? Is thine eye evil, because I am good? So the last shall be first, and the first last: for many be called, but few chosen... — Matthew 20:1–16, King James Version
Jacob Willemszoon de Wet or Jacob Willemsz. de Wet the Elder (c. 1610 – between 1675 and 1691) was a Dutch Golden Age painter, whose works were largely influenced by Rembrandt. De Wet was born and died in Haarlem. Little is known of his early life. Houbraken mentions him in passing as an art dealer of Haarlem in his biographical sketch of Philips Wouwerman, referring to him as Jan de Wet.
De Wet left a notebook that mentions a total of 34 pupils, most famously Paulus Potter. Other notable pupils were Job Adriaensz Berckheyde, Adriaen Jansz Kraen, Johann Philip Lemke, Jan Vermeer van Haarlem I (not to be confused with Vermeer of Delft), Jacob de Wet II, and Kort Withold. He became a member of the Haarlem Guild of St. Luke in 1632. Judging from the number of pupils, and the difficulties his son Jacob II had with launching an independent career, it seems that De Wet had a large and successful practise in Haarlem. His son Jacob II was the only one of 5 children who also became a painter. More
Master of the Prodigal Son (active Antwerp, mid 16th Century)
The Story of Tobias
oil on panel
86.2 x 120.8cm (33 15/16 x 47 9/16in)
Private Collection
A short story possibly dating from Persian times is the book of Tobit, named after the father of its hero. From the fragments of the book discovered at Qumrān, scholars now know that the original form of the name was Tobi. Tobit was from the Hebrew tribe of Naphtali and lived as an exile in Nineveh; his son was Tobias. Obeying the tenets of Jewish piety, Tobit buried the corpses of his fellow Israelites who had been executed. One day, when he buried a dead man, the warm dung of sparrows fell in his eyes and blinded him. His family subsequently suffered from poverty, but then Tobit remembered that he had once left a deposit of silver at Rages (today Teheran) in Media. He sent his son Tobias along with a companion, who was in reality the angel Raphael under the guise of an Israelite, to retrieve the deposit. During the journey, while Tobias was washing in the Tigris, a fish threatened to devour his foot. Upon instructions from Raphael, Tobias caught the fish and removed its gall, heart, and liver, since it was believed that the smoke from the heart and liver had the power to exorcise demons and that ointment made from the gall would cure blindness. On the way he stopped at Ecbatana (in Persia), where Raguel, a member of Tobias’ family, lived. His daughter Sarah had been married seven times, but the men had been slain by the demon Asmodeus on the wedding night, before they had lain with her. On the counsel of Raphael, Tobias asked to marry Raguel’s daughter, and on the wedding night Tobias put Asmodeus to flight through the stench of the burning liver and heart of the fish. Raphael went to Rages and returned with the deposit. When he returned with his young wife and Raphael to Nineveh, Tobias restored his father’s sight by applying the gall of the fish to his eyes. Raphael then disclosed that he was one of God’s seven angels and ascended into heaven. More
The Master of the Prodigal Son. Named after the large altarpiece now in the Kunsthistorisches Museum in Vienna which depicts the Parable of the Prodigal Son, the Master of the present work comes very close in style to both Pieter Coecke van Aelst (1502-50) and Frans Floris (1517-1570). This stylistic affinity suggests that the artist was active in Antwerp during the second quarter of the 16th Century. The master often treated subjects from the Old Testament. More
He was born in Antwerp and is considered to have run a workshop there with several pupils. His name is derived from a painting in Vienna. He is known for landscapes and religious works, and possibly travelled to Rome. Though a monogram of "LK" was discovered in one of his paintings, to conclude that this person was the Leonart Kroes mentioned as teacher in Karel van Mander's biography of Gillis van Coninxloo is incorrect. More
Francesco Solimena (Canale di Serino 1657-1747 Barra di Napoli)
Saints Tecla, Archelaa and Susanna being taken to their martyrdom
Oil on canvas
51.6 x 62.5cm (20 5/16 x 24 5/8in)
Private Collection
St. Archelais, St. Thecla and St. Susanna (d. 293) were Christian virgins of the Romagna region of Italy. During the persecution by Diocletian in the third century, these holy virgins dressed themselves in men’s clothing, cut their hair and went to the Italian province of Campagna. Settling in a remote area, they continued to pursue an ascetical life of fasting and prayer. They received the gift of healing from God, treated the local inhabitants, and converted many pagans to Christ.
When the governor of the district heard of these healings, he had the holy women brought to Salerno. He threatened St. Archelais with torture and death if she did not offer sacrifice to idols. With firm hope in the Lord, the saint refused and denounced the folly of worshipping soulless statues. The governor ordered the saint to be torn apart by hungry lions, but the beasts meekly lay at her feet. In a rage, the governor ordered the lions to be killed, and locked the holy virgins in prison.
In the morning, having suspended St. Archelais from a tree, the torturers began to rake her with iron utensils and pour hot tar on the wounds. The saint prayed even more loudly, and suddenly a light shone over her and a voice was heard, “Fear not, for I am with you.”
St. Archelais was defended by the power of God. When they wanted to crush her with an immense stone, an angel pushed it to the other side, and it crushed the torturers instead. A judge ordered the soldiers to behead the holy virgins, but the soldiers did not dare to put their hands upon the saints. Sts. Archelais, Thekla and Susanna then said to the soldiers, “If you do not fulfill the command, you shall have no respect from us.” Thus, the holy martyrs were beheaded in 293. More
F. Solimena. Ss. Archelais, Thecla and Susanna
Church of San Giorgio (Salerno)
Francesco Solimena (October 4, 1657 – April 3, 1747) was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. He received early training from his father, Angelo Solimena, with whom he executed a Paradise for the cathedral of Nocera and a Vision of St. Cyril of Alexandria for the church of San Domenico at Solofra.
He settled in Naples in 1674, there he worked in the studio of Francesco di Maria and later Giacomo del Po. He apparently had taken the clerical orders, but was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII). By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his art—for he was a highly conventional painter—after the Roman Baroque masters. Solimena painted many frescoes in Naples, altarpieces, celebrations of weddings and courtly occasions, mythological subjects, characteristically chosen for their theatrical drama, and portraits. His settings are suggested with a few details—steps, archways, balustrades, columns—concentrating attention on figures and their draperies, caught in pools and shafts of light. Art historians take pleasure in identifying the models he imitated or adapted in his compositions. His numerous preparatory drawings often mix media, combining pen-and-ink, chalk and watercolor washes. More
AFTER BARTOLOME ESTEBAN MURILLO (Spanish, 1617-1682)
Virgin and Child
Oil on canvas
157 x 107cm
Private Collection
Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. More
Francesco Rizzo da Santacroce (active Venice, 1507-circa 1545)
The Holy Family with a female martyr saint
oil on panel
68.8 x 98.2cm (27 1/16 x 38 11/16in).
Private Collection
The angular treatment of the drapery in the present work, along with the dramatic tonality of the sky suggest this is a typical, late work by Francesco Rizzo da Santacroce. A further characteristic of this Holy Family with a female martyr Saint is the underdrawing which is visible throughout. This peculiarity is seen in works by the artist such as his Holy Family with Saint Simon. In his article, This may simply be the result of the way the artist put together his pigments. The underdrawing is itself notable for its lack of hatching which may suggest that the artist regularly used cartoons to repeat his compositions, as his teacher Francesco di Simone da Santacroce (Santa Croce circa 1470-1508 Venice) had done before him. More
Francesco Rizzo da Santacroce, also known as simply Francesco da Santacroce or Francesco di Bernardo de' Vecchi Da Santa Croce (active 1507 – 1545) was an Italian painter of the Renaissance period, active mainly in Bergamo and Venice. He initially trained with Francesco di Simone da Santacroce, an ultimately inherited this master's studio. He was later a pupil or influenced by Giovanni Bellini or Vittore Carpaccio. He was born in the Sestiere of Santa Croce in Venice, or his family came from the hamlet of Santa Croce in Bergamo.
In 1507, he painted an Altarpiece depicting St Peter for the parish church of Lerina. By 1519, he was working in Venice, where he painted for San Cristoforo, the church of the Dominicans in the Zattere, San Francesco della Vigna (Last Supper), and Santa Maria degli Angeli, Murano (Virgin and St Jerome and Jermiah moved to San Pietro). He also painted an altarpiece for the parish church of Chirignago.
Girolamo and Pietro Paolo Rizzo were also painters and part of the same family. More
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