Sebastiano del Piombo

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Sebastiano del Piombo

(sābästyä`nō dĕl pyôm`bō), c.1485–1547, Italian painter of the Venetian school, whose real name was Sebastiano Luciani. Although he was trained by Giovanni Bellini, his early work was influenced by Giorgione. His first important work is the frescoed altarpiece representing St. Chrysostom in the Church of San Giovanni Crisostomo, Venice. Called to Rome (c.1510), he painted a series of lunettes in the Farnesina. He allied himself with Michelangelo, under whose influence he painted the Raising of Lazarus (National Gall., London); Pietà (Museo Civico, Viterbo); Martyrdom of St. Agatha (Pitti Palace, Florence); Flagellation and Transfiguration, the latter a fresco (Church of San Pietro in Montorio, Rome). In 1531 he was appointed to the lucrative office of the piombo (keeper of the papal seals) and painted little thereafter. Piombo's portraits are famous for their characterization and coloring. Noted examples include Doge Andrea Doria (Doria Palace, Rome), Cardinal Pole (Hermitage, St. Petersburg), Christopher Columbus (Metropolitan Mus.), and portraits of cardinals (Vienna; Sarasota, Fla.).

Piombo, Sebastiano del:

see Sebastiano del PiomboSebastiano del Piombo
, c.1485–1547, Italian painter of the Venetian school, whose real name was Sebastiano Luciani. Although he was trained by Giovanni Bellini, his early work was influenced by Giorgione. His first important work is the frescoed altarpiece representing St.
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Sebastiano del Piombo

 

(properly Sebastiano Luciani). Born circa 1485 in Venice; died June 21, 1547, in Rome. Italian painter.

Sebastiano studied with Giovanni Bellini. His early works, which show the influence of Giorgione and Titian, are radiant and lyrical in mood. Upon moving to Rome, he made the acquaintance of Raphael. His works became more austere and balanced yet preserved a Venetian richness of color (for example, the frescoes at the Villa Farnesina, 1511; Portrait of a Roman Woman, c. 1515, Berlin-Dahlem Gallery).

After 1515, under the influence of Michelangelo, Sebastiano’s works took on a dramatic quality (for example, Raising of Lazarus, 1519, National Gallery, London). His works painted during the Counter-Reformation are marked by a gloomy severity, which bears witness to the crisis of the artistic principles of the High Renaissance (for example, Christ Carrying the Cross, 1537, Hermitage, Leningrad),

REFERENCE

Pallucchini, R. Sebastian Viniziano. [Milan] 1944.
References in classic literature ?
As for Sebastian del Piombo there, you would judge for yourself; if it were not his later manner, the question was, Who was it?
Todavia Madrazo veinte anos despues de este escrito, en una carta dirigida a su hijo Luis, le seguia recomendando las mismas ideas sobre el dibujo de cabezas y manos Y si consigues dar al dibujo de las figuras un caracter grandioso con las cabezas y las manos bien sentidas (convendra que las estudies mucho), asi por el estilo de las que dibujaba Sebastian del Piombo y Miguel Angel.
Among the savories offered are discussions of the pictorial embellishment of the Venetian portego, the innovations promulgated by Sebastian del Piombo in Rome, how the brushwork of Correggio creates and follows form, the problem of the study of the female nude, and the legacy of Durer's Adam and Eve.