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PALMA GIOVANE Apollo and Marsyas (1)a sg oil painting


Apollo and Marsyas (1)a sg
Painting ID::  8428
PALMA GIOVANE
Apollo and Marsyas (1)a sg
Oil on canvas, 134 x 195 cm Herzog Anton Ulrich-Museum, Braunschweig

   
   
     

PALMA GIOVANE Apollo and Marsyas (1) ag oil painting


Apollo and Marsyas (1) ag
Painting ID::  8429
PALMA GIOVANE
Apollo and Marsyas (1) ag
Oil on canvas, 134 x 195 cm Herzog Anton Ulrich-Museum, Braunschweig

   
   
     

PALMA GIOVANE Portrait of a Man atgy oil painting


Portrait of a Man atgy
Painting ID::  8435
PALMA GIOVANE
Portrait of a Man atgy
1512-15 Oil on canvas, 93,5 x 72 cm The Hermitage, St. Petersburg

   
   
     

PALMA GIOVANE A Sibyl ag oil painting


A Sibyl ag
Painting ID::  8437
PALMA GIOVANE
A Sibyl ag
c. 1520 Oil on poplar panel, 74 x 55,1 cm Royal Collection, Windsor

   
   
     

PALMA GIOVANE Self-Portrait Painting the Resurrection of Christ oil painting


Self-Portrait Painting the Resurrection of Christ
Painting ID::  26768
PALMA GIOVANE
Self-Portrait Painting the Resurrection of Christ
1590S Oil on canvas 126x96cm Brera,Milan

   
   
     

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     PALMA GIOVANE
     Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works

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