| Gaudenzio Ferrari |
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Information AboutGaudenzio Ferrari |
| CATEGORIES ABOUT GAUDENZIO FERRARI | |
| 1471 births | |
| 1546 deaths | |
| people from the province of vercelli | |
| italian painters | |
| milanese painters | |
| italian sculptors | |
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He was born at Valduggia , Piedmont , and is said (dubiously) to have learned painting at Vercelli from Girolamo Giovenone . He next studied in Milan , in the school of Scotto , and some say of Bernardino Luini ; towards 1504 he proceeded to Florence , and afterwards (it used to be alleged) to Rome . He ultimately died in Milan. His pictorial style may be considered as derived mainly from the old Milanese school, with a considerable tinge of the influence of Da Vinci , and later on of Raphael ; in his personal manner there was something of the demonstrative and fantastic. By 1524 he was at work at the chapel of of the Crucifixion , with a multitude of figures, no less than twenty-six of them being modelled in actual relief, and colored; on the vaulted ceiling are lamenting angels. The figures include goitrous bestial assailants {Link without Title} Other leading examples are the following. In the Royal Gallery , Turin , a Pieta , an able early work. In the Brera Gallery , Milan, ''St Katharine miraculously preserved from the Torture of the Wheel'', a very characteristic example, hard and forcible in color, thronged in composition, turbulent in emotion; also several frescoes, chiefly from the Church Of Santa Maria Della Pace , three, of them being from the history of Joachim and Anna. In the cathedral of Vercelli, the choir, the ''Virgin with Angels and Saints under an Orange Tree''. In the refectory of San Paolo, the ''Last Supper''. In the church of San Cristoforo, the transept (in 1532-1535), a series of paintings in which Ferrari's student Lanini assisted him; by Ferrari himself are the ''Birth of the Virgin'', the ''Annunciation'', the ''Visitation'', the ''Adoration of the Shepherds and Kings'', the ''Crucifixion'', the ''Assumption of the Virgin'', all full of life and decided character, though somewhat mannered. In the Louvre, ''St Paul Meditating''. In Varallo, convent of the Minorites (1507), a ''Presentation in the Temple'', and ''Christ among the Doctors'', and (after 1510) the ''History of Christ'', in twenty-one subjects; also an ancona in six compartments, named the Ancona Di San Gaudenzio . In Santa Maria Di Loreto , near Varallo (after 1527), an ''Adoration''. In the church of Saronno , near Milan, the cupola (1535), a ''Glory of Angels'', in which the beauty of the school of Da Vinci alternates with bravura of foreshortenings in the mode of Correggio . In Milan, Santa Maria Delle Grazie (1542), the ''Scourging of Christ'', an ''Ecce Homo'' and a ''Crucifixion''. The ''Scourging'', or else a ''Last Supper'', in the Passione of Milan (unfinished), is regarded as Ferrari's latest work. He was a very prolific painter, distinguished by strong animation. In general character, his work appertains more to the 15th than the 16th century. His subjects were always of the sacred order. Besides Lanini, already mentioned, Andrea Solario , Giambattista Della Cerva , Gian Paolo Lomazzo , and Fermo Stella were his principal scholars. The great reputation which he enjoyed soon after his death, has not fully stood the test of time. See G. Bordiga , two works concerning Gaudenzio Ferrari (1821 and 1835); G. Colombo , ''Vita ed opere di Gaudenzio Ferrari'' (1881); Ethel Halsey , ''Gaudenzio Ferrari'' (in the series Great Masters, 1904). The reknown of another Lombard painter, contemporary with Gaudenzio, Difendente Ferrari , is by no means equal to that of Gaudenzio; but Kugler (1887, as edited by Layard) pronounced him an original colorist, and the best artist that Piedmont has produced. He infludenced Eusebio Ferrari, Gerolamo Giovenone, and Bernardino Lanino. REFERENCES |
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