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Portrait of a Lady agf
new1/PULIGO, Domenico1.jpg
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Portrait_of_a_Lady_agf
Oil on wood
Royal Collection, Windsor
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Portrait of a Woman Dressed as Mary Magdalen
new3/PULIGO, Domenico-372257.jpg
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Portrait_of_a_Woman_Dressed_as_Mary_Magdalen
mk65
Oil on panel
24 3/16x20 3/16in
Pitti,
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Portrait of Piero Carnesecchi
new3/PULIGO, Domenico-497598.jpg
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Portrait_of_Piero_Carnesecchi
mk65
Oil on panel
23 7/16x15 9/16in
Uffizi.
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Portrait of Pietro Carnesecchi
new16/PULIGO, Domenico-392753.jpg
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Portrait_of_Pietro_Carnesecchi
Oil on wood,
59,5 x 39,5 cm
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PULIGO,_Domenico
Italian Painter, 1492-1527
He trained in Florence with Ridolfo Ghirlandaio and in the workshops of Antonio del Ceraiuolo ( fl 1st half 16th century) and Andrea del Sarto. What may be his earliest surviving work, the Virgin and Child with St John (c. 1513; Rome, Pal. Venezia), reflects the style of Ghirlandaio. Other early paintings, however, such as the Holy Family (Florence, Gal. Corsini), show the influence of Fra Bartolommeo and Andrea del Sarto and are little affected by Ghirlandaio. The Virgin and Child with the Infant St John (c. 1522; Florence, Pitti) clearly reflects the examples of Fra Bartolommeo and Raphael, with the figures in the manner of Andrea del Sarto. The figure of the Christ Child may derive from Raphael's Madonna of the Pinks (c. 1507-8; Alnwick Castle, Northumb., on loan to London, N.G.). Over a dozen drawings have been attributed to Puligo, but none relates to his extant work or resembles his style of painting. Vasari described him as a particularly lazy artist, which may account for this scarcity of drawings and for the frequency of borrowed motifs and repeated compositions in his smaller religious paintings. Such borrowing often resulted in a lack of harmony in his compositions, as in the Pitti Virgin and Child. The influence of the more sculptural forms of Andrea del Sarto's work of the 1520s can be seen in the Mary Magdalene (c. 1525; Ottawa, N.G.).
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