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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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The Met's own drawing of the Christ Child by Sebastiano del Piombo was paired with a drawing in which Bambach recognised writing in Sebastiano's hand, but both appeared outside the section entitled 'Collaboration: Sebastiano del Piombo'.
She discusses the context of these texts and earlier studies; core topics in the theory of art of the 16th century and their connection to the practice of art; analysis of texts and the reconstruction of painting processes, the scientifically accurate identification of materials, and references to literature on the subject; and key examples, such as the Madonna del Divino Amore, Madonna della gatta, Calvary, Holy Family, and the paintings of Sebastiano del Piombo. ([umlaut] Ringgold, Inc., Portland, OR)
The same can be said of Manolo Guerci's study of the attribution of Palazzo Mancini in Rome, David Hemsoll's discussion of an under-considered drawing of the Vatican by Michelangelo, or Paul Joannides' essay on Sebastiano del Piombo's varied portraits of Giulia Gonzaga.
Wishing to assist Bugiardini in the making of those portraits and thereby benefiting his patrons, Michelangelo asked Sebastiano del Piombo in Rome to paint a head of Pope Clement in oils and send it to Florence.
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.
Artists include Tiziano, Jacopo Tintoretto, Paris Bordon, Sebastiano Del Piombo, Giulio Campi and Pietro Della Vecchia.
SEBASTIANO DEL PIOMBO (1485-1547), used the byname of Sebastiano Luciani.
The experience has something for all tastes: ebony and ivory furniture, enormous fireplaces in white Carrara marble and black Promontorio marble, precious tapestries, paintings by masters including Rubens, Titian, Bronzino, Sebastiano del Piombo and others.
Si analizzano quivi quadri del Sodoma, del Parmigianino, di Tiziano, del Veronese e di Sebastiano del Piombo (265-81).