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{{short description|Italian painter}}

[[Image:Giuseppe Vermiglio, John the Baptist.jpg|thumb|right|250px|Giuseppe Vermiglio, ''John the Baptist'', oil on canvas, 55 x 45 cm.]]
[[Image:Giuseppe Vermiglio, John the Baptist.jpg|thumb|right|250px|Giuseppe Vermiglio, ''John the Baptist'', oil on canvas, 55 x 45 cm.]]
'''Giuseppe Vermiglio''' (c.1585 – c.1635) was a [[Caravaggisti|Caravaggist]] painter from Northern [[Italy]], active also in [[Rome]].
'''Giuseppe Vermiglio''' (c.1585 – c.1635) was a [[Caravaggisti|Caravaggist]] painter from Northern [[Italy]], active also in [[Rome]].


==Life==
Our knowledge of Vermiglio’s life is sketchy. It is probable that he was born in [[Alessandria]].<ref>[[Turin]] and [[Milan]] have also been proposed as his place of birth.</ref> He spent the first two decades of the seventeenth century in Rome where, while training and working as an artist, he adopted a bohemian lifestyle with a tendency to become involved in painterly brawling: in 1604 he supported his master [[Adriano di Monteleone]]’s account of a dispute with two unknown artists which had led to Monteleone being wounded by his own wife; the following year Vermiglio was arrested and imprisoned after being discovered at the Monte di Brianza hostellry bearing an unlicensed sword; and in 1611 proceedings were brought against him for physically attacking the painter [[Silvio Oliviero]]. In 1618, still in Rome, he is recorded as a picture dealer.
Our knowledge of Vermiglio's life is sketchy. It is probable that he was born in [[Alessandria]].<ref>[[Turin]] and [[Milan]] have also been proposed as his place of birth.</ref> He spent the first two decades of the seventeenth century in [[Rome]] where, while training and working as an artist, he adopted a bohemian lifestyle with a tendency to become involved in brawls with fellow painters; for example, in 1604 he supported his master [[Adriano di Monteleone]]’s account of a dispute with two unknown artists which had led to Monteleone being wounded by his own wife. The following year Vermiglio was arrested and imprisoned after being discovered at the Monte di Brianza hostel bearing an unlicensed sword. In 1611, proceedings were brought against him for physically attacking the painter [[Silvio Oliviero]]. In 1618, still in Rome, he is recorded as a picture dealer.


Around 1620 he returned to northern Italy where he pursued his career as a painter in [[Piedmont]] ([[Novara]] and Alessandria) and in [[Lombardy]] (notably in [[Mantua]] and [[Milan]]).
Around 1620 he returned to northern Italy where he pursued his career as a painter in [[Piedmont]] ([[Novara]] and Alessandria) and in [[Lombardy]] (notably in [[Mantua]] and [[Milan]]).


His art was profoundly influenced by [[Caravaggio]]. Other painters to whom his work is thought, on the basis of stylistic references, to be indebted include the [[Bologna|Bolognese]] [[Annibale Carracci]] and [[Guido Reni]]; it has been suggested that Vermiglio worked or studied in Bologna at some point. Luigi Lanzi acclaimed the painting of Daniel among the lions, in the library of the Passione in Milan, as his masterwork.<ref>Lanzi p. 305.</ref>
His art was profoundly influenced by [[Caravaggio]]. Other painters to whom his work, on the basis of stylistic references, is thought to be indebted include the [[Bologna|Bolognese]] [[Annibale Carracci]] and [[Guido Reni]]; it has been suggested that Vermiglio worked or studied in Bologna at some point. Luigi Lanzi acclaimed the painting of ''Daniel among the Lions'', in the library of the Passione in Milan, as his masterwork.<ref>Lanzi p. 305.</ref>


Judgments of quality of his work have ranged from [[Alfred Moir]]’s ‘inconsequential craftsman’<ref>[[Alfred Moir]], ''The Italian Followers of Caravaggio'', Cambridge, Mass., 1967, vol. I, p. 69. (Cited by Gash.)</ref> to Lanzi’s ‘the best painter in oils of which the ancient state of Piedmont could boast, and one of the best Italian artists of his times’ <ref>‘Io lo considero come il miglior pittore a olio che vanti l’antico Stato di Piemonte, e come uno de’miglior italiani del suo tempo.’ Luigi Lanzi, ''Storia Pittorica della Italia, dal risorgimento delle Belle Arti fin presso al fine del XVIII secolo'', 3rd, revised and expanded, edition, Bassano, 1809, vol. V, pp. 377-8. (Cited by Gash.)</ref>
Judgments of quality of his work have ranged from [[Alfred Moir]]’s ‘inconsequential craftsman’<ref>[[Alfred Moir]], ''The Italian Followers of Caravaggio'', Cambridge, Mass., 1967, vol. I, p. 69. (Cited by Gash.)</ref> to Lanzi's ‘the best painter in oils of which the ancient state of Piedmont could boast, and one of the best Italian artists of his times’ <ref>‘Io lo considero come il miglior pittore a olio che vanti l’antico Stato di Piemonte, e come uno de’miglior italiani del suo tempo.’ Luigi Lanzi, ''Storia Pittorica della Italia, dal risorgimento delle Belle Arti fin presso al fine del XVIII secolo'', 3rd, revised and expanded, edition, Bassano, 1809, vol. V, pp. 377-8. (Cited by Gash.)</ref>
__NOTOC__


==Works==
==Works==
Paintings by Vermiglio, or which have been attributed to him, include
Paintings by Vermiglio, or which have been attributed to him, include:
*''The Incredulity of St Thomas'', signed and dated 1612. [[San Tommaso ai Cenci]], Rome.

*''The Incredulity of St. Thomas'', signed and dated 1612. [[San Tommaso ai Cenci]], Rome.
*''Crowning with Thorns / Mocking of Christ'', formerly in the [[Palazzo Altieri]], Rome
*''Crowning with Thorns / Mocking of Christ''. (formerly in the [[Palazzo Altieri]], Rome
*''Cain and Abel''. [[National Museum of Fine Arts (Valletta)|National Museum of Fine Arts]], [[Valletta]].
*''Cain and Abel''. [[National Museum of Fine Arts (Valletta)|National Museum of Fine Arts]], [[Valletta]].
*''Adoration of the Shepherds'', signed and dated 1622. [[Pinacoteca di Brera]], Milan.
*''Adoration of the Shepherds'', signed and dated 1622. [[Pinacoteca di Brera]], Milan.
*''Last Supper'', signed and dated 1622. Pinacoteca di Brera, Milan.
*''Last Supper'', signed and dated 1622. Pinacoteca di Brera, Milan.
*''The Sacrifice of Isaac''. [[Musei Civici del Castello Sforzesco]], Milan.
*''The Sacrifice of Isaac''. [[Musei Civici del Castello Sforzesco]], Milan.
*''Saint James, the Major''. [http://www.morcellirepossi.it/englishversion.htm Repossi Gallery, Italy].
*''Saint James the Major''. [http://www.morcellirepossi.it/englishversion.htm Repossi Gallery, Italy].


==References==
==References==
{{reflist}}
{{reflist}}

==Sources==
* [[Luigi Lanzi|Lanzi, Luigi]]. ''The History of Painting in Italy.'' Translated by [[Thomas Roscoe]]. London, H. G. Bohn, 1847; Vol. 3, pp.&nbsp;305–306.
* [[Luigi Lanzi|Lanzi, Luigi]]. ''The History of Painting in Italy.'' Translated by [[Thomas Roscoe]]. London, H. G. Bohn, 1847; Vol. 3, pp.&nbsp;305–306.
* {{citation|last=Gash|first=John|year=1998|title=The ''Cain and Abel'' in the National Museum: The case for Giuseppe Vermiglio|periodical=Melita Historica New Series|volume=12|issue=3|pages=267–280|language=Italian|url=http://www.xs4all.nl/~nizaar/Melita%20Historica/MH.12.03/The%20Cain%20and%20Abel%20in%20the%20National%20Museum%20etc..pdf|archive-url=https://web.archive.org/web/20060527141215/http://www.xs4all.nl/~nizaar/Melita%20Historica/MH.12.03/The%20Cain%20and%20Abel%20in%20the%20National%20Museum%20etc..pdf|dead-url=yes|archive-date=2006-05-27|accessdate=2007-09-01|format=&ndash; <sup>[https://scholar.google.co.uk/scholar?hl=en&lr=&q=author%3AGash+intitle%3AThe+%27%27Cain+and+Abel%27%27+in+the+National+Museum%3A++The+case+for+Giuseppe+Vermiglio&as_publication=&as_ylo=1998&as_yhi=1998&btnG=Search Scholar search]</sup>|df=}}
* {{citation|last=Gash|first=John|year=1998|title=The ''Cain and Abel'' in the National Museum: The case for Giuseppe Vermiglio|periodical=Melita Historica New Series|volume=12|issue=3|pages=267–280|language=it|url=http://www.xs4all.nl/~nizaar/Melita%20Historica/MH.12.03/The%20Cain%20and%20Abel%20in%20the%20National%20Museum%20etc..pdf|archive-url=https://web.archive.org/web/20060527141215/http://www.xs4all.nl/~nizaar/Melita%20Historica/MH.12.03/The%20Cain%20and%20Abel%20in%20the%20National%20Museum%20etc..pdf|url-status=dead|archive-date=2006-05-27|access-date=2007-09-01}}


==Further reading==
==Further reading==
* {{citation
* {{citation
|editor= Miklós Boskovits
|editor= Miklós Boskovits
|title= Studi di storia dell’arte in onore di Mina Gregori
|title= Studi di storia dell'arte in onore di Mina Gregori
|place=Milan
|place=Milan
|last= Frangi
|last= Frangi
Line 37: Line 40:
|contribution=Giuseppe Vermiglio tra Caravaggio e Federico Borromeo
|contribution=Giuseppe Vermiglio tra Caravaggio e Federico Borromeo
|pages=161–9
|pages=161–9
|language=Italian
|language=it
}}. (Described by Gash as a ‘groundbreaking article.’)
}}. (Described by Gash as a ‘groundbreaking article.’)


==External links==
==External links==
{{commons category}}
* {{commons category-inline}}


{{Caravaggisti}}
{{Caravaggisti}}

{{Authority control}}
{{Authority control}}

{{DEFAULTSORT:Vermiglio, Giuseppe}}
{{DEFAULTSORT:Vermiglio, Giuseppe}}
[[Category:Italian Baroque painters]]
[[Category:Italian Baroque painters]]
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[[Category:Year of death unknown]]
[[Category:Year of death unknown]]
[[Category:Year of birth uncertain]]
[[Category:Year of birth uncertain]]
[[Category:Caravaggisti]]
[[Category:1580s births]]
[[Category:1630s deaths]]
[[Category:Catholic painters]]

Latest revision as of 15:48, 16 October 2023

Giuseppe Vermiglio, John the Baptist, oil on canvas, 55 x 45 cm.

Giuseppe Vermiglio (c.1585 – c.1635) was a Caravaggist painter from Northern Italy, active also in Rome.

Life

[edit]

Our knowledge of Vermiglio's life is sketchy. It is probable that he was born in Alessandria.[1] He spent the first two decades of the seventeenth century in Rome where, while training and working as an artist, he adopted a bohemian lifestyle with a tendency to become involved in brawls with fellow painters; for example, in 1604 he supported his master Adriano di Monteleone’s account of a dispute with two unknown artists which had led to Monteleone being wounded by his own wife. The following year Vermiglio was arrested and imprisoned after being discovered at the Monte di Brianza hostel bearing an unlicensed sword. In 1611, proceedings were brought against him for physically attacking the painter Silvio Oliviero. In 1618, still in Rome, he is recorded as a picture dealer.

Around 1620 he returned to northern Italy where he pursued his career as a painter in Piedmont (Novara and Alessandria) and in Lombardy (notably in Mantua and Milan).

His art was profoundly influenced by Caravaggio. Other painters to whom his work, on the basis of stylistic references, is thought to be indebted include the Bolognese Annibale Carracci and Guido Reni; it has been suggested that Vermiglio worked or studied in Bologna at some point. Luigi Lanzi acclaimed the painting of Daniel among the Lions, in the library of the Passione in Milan, as his masterwork.[2]

Judgments of quality of his work have ranged from Alfred Moir’s ‘inconsequential craftsman’[3] to Lanzi's ‘the best painter in oils of which the ancient state of Piedmont could boast, and one of the best Italian artists of his times’ [4]

Works

[edit]

Paintings by Vermiglio, or which have been attributed to him, include:

References

[edit]
  1. ^ Turin and Milan have also been proposed as his place of birth.
  2. ^ Lanzi p. 305.
  3. ^ Alfred Moir, The Italian Followers of Caravaggio, Cambridge, Mass., 1967, vol. I, p. 69. (Cited by Gash.)
  4. ^ ‘Io lo considero come il miglior pittore a olio che vanti l’antico Stato di Piemonte, e come uno de’miglior italiani del suo tempo.’ Luigi Lanzi, Storia Pittorica della Italia, dal risorgimento delle Belle Arti fin presso al fine del XVIII secolo, 3rd, revised and expanded, edition, Bassano, 1809, vol. V, pp. 377-8. (Cited by Gash.)

Sources

[edit]
  • Lanzi, Luigi. The History of Painting in Italy. Translated by Thomas Roscoe. London, H. G. Bohn, 1847; Vol. 3, pp. 305–306.
  • Gash, John (1998), "The Cain and Abel in the National Museum: The case for Giuseppe Vermiglio" (PDF), Melita Historica New Series (in Italian), vol. 12, no. 3, pp. 267–280, archived from the original (PDF) on 2006-05-27, retrieved 2007-09-01

Further reading

[edit]
  • Frangi, Francesco (1994), "Giuseppe Vermiglio tra Caravaggio e Federico Borromeo", in Miklós Boskovits (ed.), Studi di storia dell'arte in onore di Mina Gregori (in Italian), Milan, pp. 161–9{{citation}}: CS1 maint: location missing publisher (link). (Described by Gash as a ‘groundbreaking article.’)
[edit]
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