Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

Andreadi di Bonaiuto

Andrea del Castagno

Andrea del Sarto

Andrea di Bartolo

Andrea Mantegna

Antonello da Messina

Antonio del Pollaiuolo

Bartolo di Fredi

Bartolomeo di Giovanni

Benozzo Gozzoli

Benvenuto di Giovanni

Bernard Berenson

Bernardo Daddi

Bianca Cappello

Bicci di Lorenzo

Bonaventura Berlinghieri

Buonamico Buffalmacco

Byzantine art

Cimabue

Dante

Dietisalvi di Speme

Domenico Beccafumi

Domenico di Bartolo

Domenico di Michelino

Domenico veneziano

Donatello

Duccio di Buoninsegna

Eleonora da Toledo

Federico Zuccari

Filippino Lippi

Filippo Lippi

Fra Angelico

Fra Carnevale

Francesco di Giorgio Martini

Francesco Pesellino

Francesco Rosselli

Francia Bigio

Gentile da Fabriano

Gherarducci

Domenico Ghirlandaio

Giambologna

Giorgio Vasari

Giotto di bondone

Giovanni da Modena

Giovanni da San Giovanni

Giovanni di Francesco

Giovanni di Paolo

Giovanni Toscani

Girolamo di Benvenuto

Guidoccio Cozzarelli

Guido da Siena

Il Sodoma

Jacopo del Sellaio

Jacopo Pontormo

Lippo Memmi

Lippo Vanni

Lorenzo Ghiberti

Lorenzo Monaco

Lo Scheggia

Lo Spagna

Luca Signorelli

masaccio

masolino da panicale

master of monteoliveto

master of sain tfrancis

master of the osservanza

matteo di giovanni

memmo di filippuccio

neroccio di bartolomeo

niccolo di segna

paolo di giovanni fei

paolo ucello

perugino

piero della francesca

piero del pollaiolo

piero di cosimo

pietro aldi

pietro lorenzetti

pinturicchio

pontormo

sandro botticelli

sano di pietro

sassetta

simone martini

spinello aretino


taddeo di bartolo

taddeo gaddi

ugolino di nerio

vecchietta

 

             
 
Domenico Beccafumi 064

I T

Domenico Beccafumi, Self-portrait, 1525 - 1530, 29.5 × 24 cm (11.6 × 9.4 in), Firenze, Uffizi

 

Travel guide for Tuscany
       
   

Domenico Beccafumi, the last great artist of the Sienese school

 

   
       
   

Domenico Beccafumi in Palazzo Pubblico, Siena

 

In the second half of the quattrocento artists, destined to noticeably change the figurative culture through the more “modern” forms of the Renaissance, emerge in Siena: in Sculpture Donatello’s presence is very important; he is the artist who clearly caused the emergence of individual masters such as Vecchietta, Francesco di Giorgio, Giovanni di Stefano, Giacomo Cozzarelli.
These artists drew from the Florentine master the ability of shaping the matter with subtle plastic vibrations and at the same time gave to the represented figures the intensity of emotions rendered with dramatic participation. In Painting, thanks to the works of Vecchietta, Matteo di Giovanni and above all Francesco di Giorgio and his assistants Neroccio and Pietro Orioli, we see a transition from the abstract values of formal elegance to the more conscious search for spatial and chromatic standards.
The figures are coherently placed within the settings with spatial accuracy and rigorous perspective. Beccafumi’s initial acceptance of Michelangelo’s classicism turned itself, already by the 1520s, into a more visionary and eccentric way of painting which allowed the artist to become one of the main figures of the Italian mannerism.

 

Domenico Beccafumi, The Reconciliation of Marcus Emilius Lepidus and Fulvius Flaccus (1529-35), fresco in Palazzo Pubblico, Siena

 

The abundance of the pictorial experience that the lively town of Siena managed to prompt in the last part of the fifteenth and the beginning of the sixteenth-centuries, is important not only for the quantity produced but for its quality too. Evidence of this is the flourishing of pictorial cycles, sculptural works of major relevance, architectural and urban planning, the creation of decorative objects for the living spaces of the great patricians, and the production of traditional paintings for public and private worship.The two main focal points of Siena representing the civil power on one hand (Palazzo Pubblico and the Spedale di Santa Maria della Scala) and the religious power on the other (The Cathedral) maintain the most relevant examples of that cultural change.
Within the Palazzo Pubblico the sumptuous consistorial hall was decorated by Domenico Beccafumi with scenes of the civic virtues, project that lasted from 1529 to 1535. Emphatic mannerism, vivid colours and daring illusionistic representations attract the spectator to one of the most fascinating pictorial cycles of the time.
Not far way on the Pellegrini street which leads to the baptistery Beccafumi himself, developed a complex series of images with characters from mythology and ancient history, commissioned by the proprietor Marcello Agostini. The cycle is considered as one of the highest expressions of the italian cinquecento, one of the "secret" places in a palace that is still a private property and it will open to the general public in the course of the exhibition, rare chance not to be missed. Almost in front of it, Palazzo del Magnifico, residence of Pandolfo Petrucci, Siena's ruler, at the time sumptuous patrician residence, furnished by the most important artists present in Siena at the end of the fifteenth-century and of which only the architectural structure remains after it was stripped off of all its decorations and furniture during the XIX century.

The two main focal points of Siena representing the civil power on one hand (Palazzo Pubblico and the Spedale di Santa Maria della Scala) and the religious power on the other (The Cathedral) maintain the most relevant examples of that cultural change.
Within the Palazzo Pubblico the sumptuous consistorial hall was decorated by Domenico Beccafumi with scenes of the civic virtues, project that lasted from 1529 to 1535. Emphatic mannerism, vivid colours and daring illusionistic representations attract the spectator to one of the most fascinating pictorial cycles of the time.
Not far way on the Pellegrini street which leads to the baptistery Beccafumi himself, developed a complex series of images with characters from mythology and ancient history, commissioned by the proprietor Marcello Agostini. The cycle is considered as one of the highest expressions of the italian cinquecento, one of the "secret" places in a palace that is still a private property and it will open to the general public in the course of the exhibition, rare chance not to be missed. Almost in front of it, Palazzo del Magnifico, residence of Pandolfo Petrucci, Siena's ruler, at the time sumptuous patrician residence, furnished by the most important artists present in Siena at the end of the fifteenth-century and of which only the architectural structure remains after it was stripped off of all its decorations and furniture during the XIX century.

 

 
   


       
Domenico Beccafumi 064   Domenico Beccafumi 002   Domenico Beccafumi 001
    Patriea Amor, allegorie  

Mutua Benevolentia

 

Spurius Cassius Vecillinus   Domenico Beccafumi 007   Domenico Beccafumi 003

Spurio Cassio

 

  Marcus Manlius   Figure dell'antica Roma
         
Domenico Beccafumi 016   Domenico Beccafumi 004   Domenico Beccafumi 012
   

Vittima di Codro, re di Atene

 

  Giustizia
         
Domenico Beccafumi 005        
         




Turismo in Toscana | Case vacanza in Toscana | Podere Santa Pia


     
         
         
         


[1] Fonte: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.