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Born in [[Florence]] as '''Jacopo Chimenti''' ([[Empoli]] being the birth place of his father), he worked mostly in his native city. He apprenticed under [[Maso da San Friano]]. Like his contemporary in the [[Counter-Maniera]], [[Santi di Tito]], he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like [[Vasari]]. He collaborated with [[Alessandro Tiarini]] in some projects. Among his pupils were [[Felice Ficherelli]], [[Giovanni Battista Brazzè]](''Il Bigio'')<ref> |
Born in [[Florence]] as '''Jacopo Chimenti''' ([[Empoli]] being the birth place of his father), he worked mostly in his native city. He apprenticed under [[Maso da San Friano]]. Like his contemporary in the [[Counter-Maniera]], [[Santi di Tito]], he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like [[Vasari]]. He collaborated with [[Alessandro Tiarini]] in some projects. Among his pupils were [[Felice Ficherelli]], [[Giovanni Battista Brazzè]](''Il Bigio'')<ref> |
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{{cite book | first= Stefano| last= Ticozzi| year=1830| title= ''Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni etá e d’ogni nazione''' (Volume 1)| editor = | pages= page 214 | publisher=Gaetano Schiepatti; Digitized by Googlebooks, Jan 24, 2007 | id= | url= http://books.google.com/books?id=0ownAAAAMAAJ&pg=PA5&dq=Stefano+Ticozzi+Dizionario | authorlink= }}</ref>,and [[Virgilio Zaballi]]<ref>Hobbes J.R. p. 81</ref> |
{{cite book | first= Stefano| last= Ticozzi| year=1830| title= ''Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni etá e d’ogni nazione''' (Volume 1)| editor = | pages= page 214 | publisher=Gaetano Schiepatti; Digitized by Googlebooks, Jan 24, 2007 | id= | url= http://books.google.com/books?id=0ownAAAAMAAJ&pg=PA5&dq=Stefano+Ticozzi+Dizionario | authorlink= }}</ref>, [[Giovanni Battista Vanni]], and [[Virgilio Zaballi]]<ref>Hobbes J.R. p. 81</ref> |
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In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the [[Baroque]] period. |
In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the [[Baroque]] period. |
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Finally, in a thematic often shunned by Florentine painters, after 1620s he completed a series of still-life paintings[http://www.wga.hu/bio/e/empoli/biograph.html][http://www.spargelzeit.de/spargel---kunst-17jhdt-jacopo-chimenti.html]. |
Finally, working in a thematic often shunned by Florentine painters, after 1620s he completed a series of still-life paintings[http://www.wga.hu/bio/e/empoli/biograph.html][http://www.spargelzeit.de/spargel---kunst-17jhdt-jacopo-chimenti.html]. |
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==Selected works== |
==Selected works== |
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Revision as of 12:54, 3 October 2007
Jacopo da Empoli (30 April 1551 - 30 September, 1640) was an Italian late-mannerist painter.
Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in the Counter-Maniera, Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazzè(Il Bigio)[1], Giovanni Battista Vanni, and Virgilio Zaballi[2]
In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.
Finally, working in a thematic often shunned by Florentine painters, after 1620s he completed a series of still-life paintings[1][2].
Selected works
- Madonna in Glory with Saint Luke and Saint Ives (1579) - Louvre, Paris
- Sacrifice of Isaac[3] (1590s) - Oil on copper, 32 x 25 cm, Uffizi, Florence
- Susanna and the Elders (1600) - Kunsthistorisches Museum, Vienna
- Sant'Eligio (1614) - Uffizi, Florence
- Carlo Borromeo and the Rospigliosi Family (1613) - Church of San Domenico, Pistoia
- Still Life with Games (1620s) - Oil on canvas, 114 x 152 cm, Private collection
- Judgement of Midas (1624) - Pistoia
- Saint Ives, Protector of Widows and Orphans - Palatine Gallery, Florence
- Adoration of Shepherds (attributed)[4]
- Preaching of John the Baptist - San Niccolò Oltrarno, Florence.
- Michelangelo presents his model of San Lorenzo to Leo X (1617-19) - Casa Buonarroti, Florence
- The Wedding of Caterina de Medici to Henry II
- Drunkedness of Noah - Uffizi Gallery, Florence
- Saint Clair accepts the veil (vows) [5] (1620) - Caen, France
- Final Judgement [6]
- Pala della Concezione - San Bartolomeo[7]
References
- Freedberg, Sydney J. (1993). "Painting in Italy, 1500-1600". Pelican History of Art. Penguin Books. pp. 630–632.
- Hobbes, James R. (1849). Picture collector's manual adapted to the professional man, and the amateur. T&W Boone, 29 Bond Street; Digitized by Googlebooks.
- ^
Ticozzi, Stefano (1830). Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni etá e d’ogni nazione' (Volume 1). Gaetano Schiepatti; Digitized by Googlebooks, Jan 24, 2007. pp. page 214.
{{cite book}}:|pages=has extra text (help) - ^ Hobbes J.R. p. 81