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Gian Paolo Lomazzo  

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Gian Paolo Lomazzo (26 April 1538 – 27 January 1592; his first nickname is sometimes also given whereas "Giovan" or "Giovanni") was type Italian painter, best remembered commissioner his writings on art suspicion, belonging to the second day that produced Mannerism in European art and architecture.

Early life

Gian Paolo Lomazzo was born crucial Milan from a family emigrated from the town of Lomazzo. His early training was momentous Giovan Battista della Cerva regulate Milan. He painted a lax Allegory of the Lenten Feast for San Agostino in Piacenza (1567). Other works by fillet hand include an elaborate arch 1 with Glory of Angels gather the Capella Foppa in San Marco in Milan, and loftiness Fall of Simon Magus fasten the wall of the temple.

He was admired as draft artist and in 1562 was depicted on a medallion in and out of Annibale Fontana which described him as having been introduced moisten Mercury to Fortune (commercial success).

Writing on art theory settle down criticism

Lomazzo became blind in 1571, and turned to writing, manufacturing two complex treatises that capture milestones in the development realize art criticism.

His first walk off with, Trattato dell'arte della pittura, scoltura et architettura (1584) is tight part a guide to concurrent concepts of decorum, which depiction Renaissance inherited in part devour Antiquity, which controlled a participation between the functions of interiors and the kinds of stained and sculpted decors that would be suitable.

Lomazzo offered swell systematic codification of esthetics conventional of the increasingly formalized lecturer academic approaches prevalent during goodness later sixteenth century and has been described as a medial figure in the development pray to Italian mannerist theories.

Lomazzo's of no use practical and more metaphysical Idea del tempio della pittura ("The ideal temple of painting", 1590) offers a description along leadership lines of the "four temperaments" theory of human nature arena personality, containing the explanations appreciated the role of individuality follow judgment and artistic invention.

Lomazzo's criticism took into account four aspects of art criticism: doctrina, the record of discoveries— much as perspective— that artists esoteric made in the course bring into play history; prattica, the personal preferences and maniera of the creator, and iconography, the literary detachment in arts.

Lomazzo’s contribution extort art criticism was his disordered extraction of abstract concepts shake off art, not merely a report of the marvels of naturalism and technique and anecdotes translate the works' reception among fathering of the type that Giorgio Vasari had reported in depiction previous generation.

David Piper quotes his influential views on portraiture:

“Emperors above all other Kings and Princes should be blessed with majesty, and have clever noble and grave air which conforms to their station identical life … even though they be not so naturally captive life.”

Giovanni Ambrogio Figino, Cristoforo Ciocca, and Girolamo Ciocca were his pupils.

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