Baldassare Peruzzi


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Peruzzi, Baldassare

 

Baptized Mar. 7, 1481, in Siena; died Jan. 6, 1536, in Rome. Italian architect and painter.

Peruzzi worked with Bramante and Raphael. After Raphael’s death, he supervised the construction of St. Peter’s Church in Rome, adhering basically to Bramante’s centralized plan. Peruzzi combined High Renaissance and early mannerist influences. Whereas his early buildings, such as the Villa Farnesina in Rome (1509-11), are marked by a lyricism and lightness of form, his later Palazzo Massimo alle Colonne in Rome (1536) is distinguished by sharp contrasts between the supporting and supported elements and by a dynamic relationship with the urban surroundings.

Peruzzi’s frescoes, for example, those in the Villa Farnesina (from 1511), are delicately decorative and reflect a love of illu-sionistic effects. His settings for spectacles, including those on fantastic, fairy-tale themes (L. Ariosto’s I Suppositi, 1519), greatly influenced the use of perspective in set design.

REFERENCES

Kent, W. W. The Life and Works of Baldassare Peruzzi. New York [1925].
Frommel, C. L. Baldassare Peruzzi als Maler und Zeichner, vols. 1-3. Vienna-Munich, 1967-68.
References in periodicals archive ?
On one level, perhaps it is not surprising to find so much convincing architecture in Renaissance paintings as so many painters worked as architects as well: Michelangelo, Baldassare Peruzzi, even Raphael.
Other painters turned architects such as Donato Bramante and Baldassare Peruzzi (who is represented in this exhibition) followed Brunelleschi in using perspective techniques to depict their own, and others' architectural designs.
Rijser explores the ceiling vault by Baldassare Peruzzi with its reference to the patron's horoscope, the lunettes by Sebastiano del Piombo (for which convincing arguments are presented to link their subjects with elements of Chigi's biography), the Polyphemus by Sebastiano, and the undisputed masterpiece and namesake of the room, Raphael's Galatea.
Bodefeld describes the "Peruzzi style" developed by Baldassare Peruzzi (1481-1536), the Sienese architect who worked in Rome and returned to his native city after the Sack of Rome in 1527 to become architect to the republic.
This volume is the outcome of a seminar on Baldassare Peruzzi organized by the Centro Internazionale degli Studi di Architettura Andrea Palladio in 2001.
It was admiration for Raphael that led other artists, starting with Baldassare Peruzzi, to be buried there.
Frommel, "'ala maniera e uso delj bonj antiquj': Baldassare Peruzzi e la sua quarantennale ricerca dell'antico"; Francesco Paolo Fiore, "Baldassare Peruzzi a Siena"; Mauro Mussolin, "San Sebastiano in Vallepiatta"; Vitale Zanchettin, "Costruire nell'antico: Roma, Campo Marzio 1508-1523: Peruzzi, la confraternita di san Rocco e i cantieri intorno al mausoleo di Augusto"; Marzia Faietti, "Peruzzie e i bolognesi: indizi per la riconstruizione di un rapporto privilegiato"; Silvia Danesi Squarzina, "Gli affreschi dell'appartamento Riario nell'episcopio di Ostia Antica"; Elena Svalduz, "'Bellissime investigazioni': su alcuni progetti di Baldassare Peruzzi per Alberto Pio da Capri"; Achim Gnann, "Peruzzi oder Raphael?
59) In Rome in 1511 those connections would have been expanded in important new directions, through his associations with the circle of Agostino Chigi and with the architect Baldassare Peruzzi, who is mentioned as one of Vannoccio's acquaintances in the text of the Pirotecnia.