Palma il Giovane
Jacopo Palma the Younger (c. 1548 in Venice, † 1628 ibid ), Italian and Palma ( il ) Giovane, was an Italian painter and etcher. Like his great-uncle Palma Vecchio was his real name Jacopo Negretti (partly also " Negreti " or " Nigretti " written ), but called himself and his family in his signatures, monograms and numerous handwritten comments on his drawings consistently "Palma ".
Palma was born as the son of Serina from coming near Bergamo painter Antonio Palma, a nephew of Palma Vecchio. In the 17th century it was nicknamed il Giovane, to distinguish it better from his eponymous great-uncle can.
Life
About Palmas training as a painter only few reliable data are known. Since his father Antonio, however, in 1553 on the death of Bonifacio de ' Pitati, who was in turn been the workshop successor of Palma Vecchio, the former workshop of his famous uncle inherited, it stands to reason given the extremely traditionalist structures of the Venetian art world that he his initial training through the father received. It is known that he copied paintings by old masters in his youth in large numbers, such as 16- year-old also Titian's Martyrdom of St. Lawrence in Santa Maria Assunta. His first biographer, Ridolfi, explains that he was doing "discovered" by the Duke of Urbino, Guidobaldo II della Rovere, who then offered him to study abroad at his court in Pesaro. Still in 1564 he accompanied the Duke therefore to Pesaro, where he lived with few interruptions until 1567, and the ducal collections studied. Following the Duke sent him to perfection, especially his drawing skills to Rome, where he lived in the house of Urbino ambassador to the astonishment he though his education largely self-taught operation and systematic contact with other artists rather avoided.
During the year 1570 he returned to Venice, where he is now because of the strong central Italian stamping his style initially difficult to fit right. To way back to the peculiarities of the Venetian school of the late mannerism, he graphically as well as in image composition leaned in the following years, extremely strong at Tintoretto to, occasionally, the Veronese (especially his early pen and ink drawings ) and Jacopo Bassano; only about 1580 Palma has found a truly unique style, which he then, especially as a draftsman until his death consistently further developed. From 1576 a series of coincidences Palma helped to move up faster in the first row of the Venetian masters, as it might have been possible under other circumstances (Antonio Palma seems to be 1577 died since the first time appear in this year Jacopo as an independent master in documents is ). First died in 1576 Titian as victims of the great plague, and Palma was able to purchase one of the unfinished painting and, provided with an explanatory inscription to finish; this Pietà now hangs in the Galleria dell'Accademia in Venice, and how very Palma knew how to use this fact for his self-expression, it is clear that even a nearly contemporary source claimed a participation in Titian's workshop, and several more authors of the 20th century either a school or an assistant relation to Titian postulated, although there is not for the slightest documentary clue.
Then, in 1577 at the first of two fires in the Doge's Palace, many of the paintings by Carpaccio, Bellini, Veronese and Titian destroyed. On the recommendation of the sculptor Alessandro Vittoria beside Tintoretto, Veronese and Jacopo Bassano also received Palma first contracts for the restoration of the palace rooms, including the decoration of the ceiling in the Hall of the Great Council ( Sala del Consiglio Maggior ). To this end, the central oval picture included the winning of the goddess of victory Venezia receives the subordinate provinces and the two flanking photos The Doge Andrea Gritti conquered Padua back and Victory Francesco Bembo on the fleet of Filippo Maria Visconti. Overall, Palma was taken until the turn of the century by the work in the Doge's Palace more or less to complete.
In 1583 he was awarded the contract for painting of the Oratory at the Hospice of the Order of Crociferi in Venice, with which he was employed in the next ten years; after 1600, then came again added a number of images in the church itself (Santa Maria Assunta ). The hospice was a foundation that was administered by the procurators of San Marco and needy women accepted. One of the pictures, The Doge Renier Zen and the dogaressa be blessed by Christ, Zen is dedicated as the first Patron of the Foundation. The Image Of Doge Pasquale Cicogna lives at the fair reminded of the fact that Cicogna was informed of his election as Doge, as he attended Mass in the Church of the Crociferi.
Palma was a busy painter in Venice and received next government contracts including those of different ecclesiastical patrons. Private patrons were rare because of the depleted by the plague financial situation of many patricians. For the Church of San Giuliano, he painted the central image on the ceiling, the glorification of the saints Julian, already reminiscent of Baroque ceiling paintings. He was also active as a portrait painter, and is highly esteemed in that capacity until today; In addition to numerous commissioned works by him are also four painted self-portraits obtained which are accepted by his own hand, and a number of self-portraits drawn.
After Tintoretto's death in 1594 Palma was after the judgment of his contemporaries, the leading painter of Venice - a position that he was able to hold until his own death in 1628 throughout ( Veronese was already in 1588 died, Jacopo Bassano in 1592, and as in the case of the family of Tintoretto it could also in these two cases, the generation of the sons after the death of the fathers not to compete fully with Palma). For him, began a very productive phase of work, which, however, paradoxically, increasingly accompanied in its judgment of contemporaries with quality problems and a loss of originality. Reason for these difficulties, however, probably less, be as sometimes claimed, was that Palma after the loss of his main rivals was lazy, but that simply grew it because of the huge amount of orders, the work on the head and he more and more work his had to give the workshop staff, which almost always led to a collapse of the artistic quality and, above all, to motif repeats. Nevertheless, there are also from the period after 1600, many images of very high quality, except that his achievements have remained largely untouched as a draftsman of these difficulties. Various orders for churches and chapels, he stated, in collaboration with the sculptor Alessandro Vittoria. He had access to the intellectual circle of the mannerist poet Giambattista Marino, of which apparently came the inspiration for his few mythological images. Meanwhile, his reputation far beyond Venice also, and he received orders from different courts of Italy and the German Emperor Rudolf II and the Polish king Sigismund III.
Drawings and Etchings
From Palma Giovane a large number of chalk and pen and ink drawings and 27 etchings have been preserved. These and engravings after his drawings were published in 1611 by Jacopo Franco under the title De excellentia et nobilitate delineationis. Palma is valid from 1590 as the most important artist of the Venetian school. Even the huge number of more than 1,000 documented sheets shows that Palma as a result of its central Italian stay (especially in Umbria and Tuscany was the drawing recognized as a distinct and collectible art form already in the mid- 15th century ) the importance of drawing for Venice has successfully redefined. Was previously in the Veneto, the drawing has been considered exclusively as a step on the way to the painting, and the corresponding working drawings had been kept in the workshops strictly in their role as working material, Palma drew almost constantly and often sake only to the joy of drawing according to witness reports; a setting that took over unchanged the generation of the great Venetians of the early and middle 18th century ( Giambattista Tiepolo, Gaspare Diziani, Giambattista Piazzetta, Sebastiano Ricci, Giambattista Pittoni and others). During his lifetime Palmas were graphic work of art collectors highly valued and went back in the 17th and early 18th century in some large numbers in private art collections over. In addition Palmas is art historical importance as a draftsman more than as a painter, especially in his role as a pioneer of the early Baroque in Venice.