Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

Andreadi di Bonaiuto

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Andrea del Sarto

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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



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Domenico Beccafumi

Domenico di Bartolo

Domenico di Michelino

Domenico veneziano


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


Domenico Ghirlandaio


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


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


piero della francesca

piero del pollaiolo

piero di cosimo

pietro aldi

pietro lorenzetti



sandro botticelli

sano di pietro


simone martini

spinello aretino

taddeo di bartolo

taddeo gaddi

ugolino di nerio



Detail of the fresco in the cupola of Santa Maria del Fiore, Florence, Italy

Travel guide for Tuscany

Taddeo and Federico Zuccaro (Zuccari)


Federico Zuccari, also known as Federigo Zuccaro (c. 1540/1541 – July 20, 1609), was an Italian Mannerist painter and architect, active both in Italy and abroad.
Zuccari was born at Sant'Angelo in Vado, near Urbino (Marche).

His documented career as a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius IV, and help complete the fresco decorations at the Villa Farnese at Caprarola.

Federico and Taddeo Zuccaro both became highly successful artists, receiving multiple commissions from the Pope and from great Roman families. Working together until Taddeo's death at age 37, the brothers painted frescoes (wall paintings on wet plaster) for palace interiors and house facades, chapels, and pleasure villas outside Rome. Taddeo and Federico had similar styles but distinctive approaches: Taddeo was a free-spirited and spontaneous draftsman, while Federico created clearer, more carefully considered compositions.

The Vision of Saint Eustace, Federico Zuccaro, 1542–1609
Federico Zuccaro
Italian, 1542–1609
Red and black chalk with watercolor and white heightening; squared in black chalk
13 7/16 x 7 15/16 in.
The Metropolitan Museum of Art, New York, Rogers Fund, 1962 (62.76)


Taddeo helped Federico win his first major commission, to paint a facade fresco in Piazza Sant'Eustachio in Rome. In this preparatory drawing, identical to the final fresco, Eustace comes across a white stag with a crucifix between its antlers, a vision that inspired his conversion to Christianity. Federico places Eustace in an angled pose through which he shares his vision with the viewer.

When Federico began to execute the fresco, Taddeo interfered by retouching it without permission. Federico exploded and destroyed Taddeo's work; they reconciled on the understanding that Taddeo could retouch Federico's drawings and cartoons, but never his works in fresco, oil, or any other medium.

Federico Zuccari was involved in the following fresco projects:

* Decoration of the Casina Pio IV, Rome
* Grimani Chapel, San Francesco della Vigna, Venice
* Pucci Chapel in the church of Trinità dei Monti, Rome
* San Marcello al Corso, Rome
* Cathedral of Orvieto (1570)
* Oratorio del Gonfalone, Rome (1573)
* Dome of Santa Maria del Fiore, Florence (previously started by Vasari)

Another picture in the same collection appears to be a replica of his painting of the "Allegory of Calumny", as suggested by Lucian's description of a celebrated work by Apelles; the satire in the original painting, directed against some of his courtier enemies, was the immediate cause of Zuccari's temporary exile from Rome. Zuccari was recalled to Rome by Pope Gregory XIII to continue in the Pauline chapel of the Vatican. He visited Brussels, and there made a series of cartoons for the tapestry-weavers. In 1574 he passed over to England, were he received commission from Robert Dudley, Earl of Leicester to portray himself and Queen Elizabeth. He also painted Mary, Queen of Scots, Sir Nicholas Bacon, Sir Francis Walsingham, Lord High Admiral Howard.

He painted a portrait of a Man with Two Dogs, in the Pitti Palace (Florence), and the Dead Christ and Angels in the Galleria Borghese (Rome). In 1585, he accepted an offer by Philip II of Spain to decorate the new Escorial at a yearly salary of 2,000 crowns. He worked at the palace from January 1586 to end of 1588, when he returned to Rome. His paintings (like those of El Greco before him) were disliked by Philip II and many were painted over. However the parting was amicable: "We must not blame him, but those who sent him to us", said Philip.He was succeeded by Pellegrino Tibaldi. He there founded in 1595, under a charter confirmed by Pope Sixtus V, the Accademia di San Luca, of which he was the first president. Bartolomeo Carducci is said to have studied with him.

Like his Giorgio Vasari a generation before, Zuccari aimed at being an art critic and historian. His chief book, L'idea de' Pittori, Scultori, ed Architetti (1607), was far less popular.




Detail of the fresco in the cupola of Santa Maria del Fiore, Florence, Italy
cene from the Last Judgment, Study for the Fresco Decoration of One of the Segments of the Cupola of the Cathedral of Santa Maria del Fiore in Florenc    










Federico ZUCCARO (Sant'Angelo in Vado, circa 1540/41-Ancona, 1609)
Allegory of the Vices
Between 1574 and 1578


The biographer and painter Giorgio Vasari noted that Taddeo Zuccaro drew "particularly the works by the hand of Raphael that were in the house of Agostino Chigi [the Villa Farnesina] and in other places in Rome. And since very often, when the evening came on, he had no other place wherein to sleep, many a night he took refuge under the loggia of the above-named Chigi's house and in other suchlike places. "Under the light of a crescent moon, Taddeo carefully copies Raphael's frescoes in the arches of the loggia above. Like other young artists of his day, he was eager to educate himself by copying the modern masters. Federico Zuccaro so carefully reproduced these designs that scholars can identify the scenes as Jupiter and Cupid and Psyche Reaching the Palace of Venus. At left, Taddeo lies exhausted, having fallen asleep while drawing.  

Taddeo Copying Raphael's Frescoes in the Loggia of Villa Farnesina, Where He Is Also Represented Asleep

Federico Zuccaro
Italian, about 1595
Pen and brown ink, brush with brown wash, over black chalk and touches of red chalk


After Michelangelo and Raphael, the Art of Renaissance Rome was perhaps best defined by the work of two brothers Taddeo and Federico Zuccaro. Not only were they among the most highly sought after artists of their generation, they were also a major influence behind the creation of the first art academies in Europe.
Through early struggles of their own, the Zuccaro brothers developed a particular interest in the training and wellbeing of other young artists who had come to Rome to learn the art of "disegno" and even made plans to found a special refuge in the Eternal City for deserving students who arrived there with no place to live.
This sheet of studies for Taddeo's frescoes in the Frangipani Chapel is one of his most momentous surviving drawings.

A large figure study in red wash dominates the sheet, with several thumbnail sketches distributed around it.

Red wash was an unusual technique for the period, and Taddeo used it with great effectiveness.

Federico Zuccari, Pen and brown ink, brush with brown and red wash, and red chalk, The Art Institute of Chicago
Taddeo Zuccaro
Italian, 1529-1566
Three Figures Supporting a Man, Smaller Sketch of the Same, and Studies for the Blinding of Elymas, c. 1558
This drawing is a preparatory study for a ceiling fresco in the Frangipani Chapel in San Marcello al Corso, Rome, the decorations of which were executed by Taddeo Zuccaro between 1558 and 1566, the year of the artist's premature death. Typical of his graphic style is the animated, fluid contour line and the rich combination of media. The densely packed composition and the exaggeratedly posturing, broad-hipped figures exemplify the Mannerist style that dominated Roman painting in the second half of the sixteenth century and of which Taddeo was a leading proponent.  


Kunsthistorisches Institut in Florence | In 1833, Alfred de Musset staged a drama in Andrea del Sarto’s house in Florence, which ended with the suicide of a painter who was in despair about both the infidelity of his wife and the end of the renaissance period in art. In the second half of the 16th century, the house of the “pittore senza errori” was not yet the scene of similar romantic-pessimistic feelings – quite the contrary: Federico Zuccari acquired the building in 1578 with the direct aim of establishing an ideal genealogical line with Andrea del Sarto, who was revered by many. The house was intended not only to glorify Zuccari’s artistic talents, but also to manifest his position within Florentine society. With his houses in Arezzo and Florence, Giorgio Vasari had set a turning point in the social emancipation process for the artist. And it was certainly these autoreferential cycles in Vasari’s houses that inspired Zuccari when painting his fresco decorations – both in Florence and much later in even more ambitious style in his Rome palazzo. Just like his important clients, the artist turned his own house into an instrument of self-portrayal using the paintings of mythological and allegorical themes, which are the expression of an elaborate iconographical programme.
The Casa Zuccari was handed over to the Kunsthistorisches Institut in Florence in 1987. Since 2005, the building provides space for some of the institute’s offices and numerous institute events. The online exhibition is another way to open the doors to a larger audience over and above the large number of international users of the institute. [Costanza Caraffa]
Casa Zuccari, an artists' house in Florence | An online exhibition by Kunsthistorisches Institut in Florence

The J. Paul Getty Museum, Los Angeles | Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome
Taddeo and Federico Zuccaro were two of the most creative draftsmen of the Renaissance. This exhibition examines their achievements and working relationship and explores the importance of drawing to an artist's education in Renaissance Rome. It also features a remarkable series of drawings by Federico that depicts Taddeo's rise from starving artist to acclaimed painter-star of late Renaissance Rome.

This article incorporates material from the Wikipedia article Federico Zuccari published under the GNU Free Documentation License.
Wikimedia Commons has media related to: Federico Zuccari and Painters and illustrators of works by Dante Alighieri.


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