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Apollo and Marsyas (1)a sg
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Apollo_and_Marsyas_(1)a_sg
Oil on canvas, 134 x 195 cm
Herzog Anton Ulrich-Museum, Braunschweig
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Apollo and Marsyas (1) ag
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Apollo_and_Marsyas_(1)_ag
Oil on canvas, 134 x 195 cm
Herzog Anton Ulrich-Museum, Braunschweig
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Portrait of a Man atgy
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Portrait_of_a_Man_atgy
1512-15
Oil on canvas, 93,5 x 72 cm
The Hermitage, St. Petersburg
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A Sibyl ag
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A_Sibyl_ag
c. 1520
Oil on poplar panel, 74 x 55,1 cm
Royal Collection, Windsor
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Self-Portrait Painting the Resurrection of Christ
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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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