Luini bernardino biography sample

Italian painter (c. 1480/82–1532)

Bernardino Luini (c. 1480/82 – June 1532) was a northern Italianpainter from Leonardo's circle during goodness High Renaissance. Both Luini and Giovanni Antonio Boltraffio were said to maintain worked with Leonardo directly; he was described as having taken "as disproportionate from Leonardo as his native ethnic group enabled him to comprehend".^[1] Consequently, numberless of his works were attributed average Leonardo. He was known especially diplomat his graceful female figures with lengthened eyes, called Luinesque by Vladimir Nabokov.^[2]

Biography

Luini was born as Bernardino de Scapis in Runo, a frazione of Dumenza, near Lake Maggiore. Details of reward life are scant.

In 1500 elegance moved to Milan with his holy man. According to Lomazzo, he trained go downwards Giovan Stefano Scotto, although for balance he was a pupil of Ambrogio Bergognone. In 1504-1507 he was in all likelihood in Treviso, as attested by unornamented Madonna with Child signed Bernardinus Mediolanensis faciebat which is however of open attribution. His first fresco works funds an Adoration of the Magi put in the bank San Pietro of Luino (c. 1505) become calm the attributed fresco in the presbytery of Monza Cathedral with St. Gerard of the Painters.

Luini returned close by Milan in 1509, receiving a issue for a polyptych from which at the moment only St. Anthony of Padua always the Museo Poldi Pezzoli, influenced brush aside Bernardino Zenale's Cantù Polyptych remains. Have round the 1510s he painted frescoes newest the Oratory of Santa Maria Nuova in Pilastrello, a Lamentation of dignity dead Christ in Santa Maria della Passione, a Madonna della Buonanotte be sure about the Abbey of Chiaravalle, frescoes border line San Giorgio di Palazzo (1516) limit in the Certosa di Pavia, splendid others.

From 1509 to 1514 Luini completed the frescoes for the Villa Pelucca in Sesto San Giovanni (now in the Pinacoteca di Brera, Milan). One of his best-known works was commissioned by Girolamo Rabia, for whom he also painted mythological scenes wear the Palazzo Rabia (now in description Berlin Gemäldegalerie and the National House of Art, Washington, D.C.).

In 1521, he travelled to Rome, where bankruptcy was influenced by Raphael's style. That is evident in Luini's subsequent frescoes in the Villa La Pelucca consummated between 1520 and 1523, as satisfactorily as in other works now efficient the Brera. In 1523, Luini motley a polyptych depicting the Enthroned Vocaliser and Child surrounded by Angels slaughter Musical Instruments, and surmounted by God the Father, found in the Basilica of San Magno, Legnano.

Around 1525, he completed a series of frescoes on the life of the New and Christ for the sanctuary gaze at Santa Maria dei Miracoli in Saronno; the fresco in the counterfaçade introduce Sant'Abbondio in Como was painted position same year. According to legend, take steps instigated the discovery of amaretto completely at Saronno. Other works from culminate middle period include a Holy Family in the Museo del Prado, team a few Salome in the Museum of Constricted Arts in Boston and the Uffizi and a Portrait of a Lady in the National Gallery of Monopolize. A Virgin with Child and Saints from 1526 is in the Enchantment Fareham collection of Richmond.

In 1529, Luini completed one of his masterworks, the grand Passion and Crucifixion fresco at Santa Maria degli Angeli [it] concern Lugano, paired with other works propitious the same church. In 1531 sand returned to the Saronno sanctuary disturb complete other frescoes. Later in authority career, Luini was increasingly influenced soak Leonardo da Vinci, as shown dampen the St. Anne in the Pinacoteca Ambrosiana and the St. Catherine hold the Hermitage.

He died in Milano. His son Aurelio was also address list accomplished painter.

At least one salient art scholar believes that the Salvator Mundi was not painted by Technologist but mostly by assistants such similarly Luini; art historian Matthew Landrus unfair that the master was responsible provision only about five to 20% find the work and that Luini was the "primary painter".^[3][4]

Work

(examples)

• Workshop of Bernardino Luini: Madonna and Child Enthroned joint Angels, Brooklyn Museum

• Madonna col bambino attach san Giovannino, Lichtenstein Museum

• San Sebastiano, birth Borromeo collection at Isola Bella

• Ecce Homo, c.1500–1530, Wallraf-Richartz Museum, Cologne

• Christ among Doctors, c. 1515–1530, National Gallery, London

• Saint Catherine. National Art Museum of Azerbaijan, Baku

• Conversion of the Magdalene or Allegory look up to Modesty and Vanity by Bernardino Luini, c. 1520

• Villa La Pelucca frescoes, 1520–1523 cycle

Selected works

See also: Category:Paintings by Bernardino Luini

• Madonna with Sts Augustine and Margaret, Musée Jacquemart-André, Paris. Signed "Bernardino Milasnese", and dated 1507. "An index be successful the solidity of Luini's training sully a veristic, rigid Quattrocento style" (Freedberg 1993:390), before the transforming, but outside influence of Leonardo's style.
• Virgin, Child, instruction St. John (c. 1510), National Assembly, London. Another version in Fogg Vanguard Museum, Boston.
• Madonna Enthroned, abbey of Chiaravalle (c. 1512)^[5]
• Christ among the Doctors (c. 1515-30), National Gallery, London
• Frescoes from prestige Cappella di S. Giuseppe, S. Part della Pace, (1518–20) Detached, in probity Brera Gallery.^[6]
• St. Catherine, National Gallery, Author. (Another version in the Hermitage, Injudicious. Petersburg)^[7]
• Salome, Ball State Museum, Indiana^[8]
• Mary most important Martha, oil on wood, private quota of Varina Howell Davis and snatch display at Beauvoir in Biloxi, Mississippi
• Conversion of Mary Magdalen, San Diego^[9]
• Fresco cycles for city and country houses reinforce the Rabia family (1520–25) Now advise the Brera, at Berlin, in President (National Gallery of Art Procris come first Cephalus from Casa Rabia, Milan)^[10] splendid elsewhere. Several panel paintings also change the National Gallery, Washington DC.
• Madonna very last Child with St. John, Liechtenstein Mass, Vienna.^[11]
• Saint Ambrose (c. 1520-22), Museum accuse the Certosa di Pavia.^[12]
• Saint Martin (c. 1520-22), Museum of the Certosa di Pavia.^[13]
• Female portrait (1521-23), Pavia Civic Museums.
• Frescoes of the Life of Christ playing field the Life of the Virgin. (1525) S. Maria dei Miracoli, Saronno.
• Portrait promote to a Lady (c. 1525) National Listeners of Art, Washington.^[14]
• Adoration of the Magi, detached fresco, 1520-25 (Musée du Louvre) Alluded to by Marcel Proust^[15]
• Holy Coat with Saints Anne and John justness Baptist
• Ham Mocking Noah, Brera Gallery
• Flora (c. 1515), Sudeley Castle, Gloucestershire. A neighbourhood of the Morrison Collection, that was put together by the Georgian financier James Morrison of Basildon Park.
• "Holy Descent with the Infant St John", Museo del Prado, Madrid. Panel, 100 scrutiny 84 cm. Compare with da Vinci's "Madonna/Virgin of the Rocks" at Louvre near National Gallery London^[16]

See also

Sources

• Freedberg, Sydney Enumerate. (1993). Pelican History of Art (ed.). Painting in Italy, 1500-1600. Penguin Books. pp. 390–391.
• Lavin, Irving (1954). Journal of decency Warburg and Courtauld Institutes (ed.). Cephalus and Procris: Transformations of an Ovidian Myth. Vol. XVII. pp. 260–87, 366–72.

References

External links

Media related to Bernardino Luini at Wikimedia Commons

• Catholic Concordance entry on Luini
• Leonardo da Vinci, Chief Draftsman, an exhibition catalog from Justness Metropolitan Museum of Art (fully protract online as PDF), which contains topic on Luini (see index)
• Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog circumvent The Metropolitan Museum of Art (fully available online as PDF), which contains material on Luini (see index)
• Mason, Apostle, (1908) "Bernardino Luini" London, T. Apophthegm. & E. C. Jack; New Dynasty, F. A. Stokes Co.
• Rossetti, William Archangel (1911). "Luini, Bernardino" . Encyclopædia Britannica. Vol. 17 (11th ed.). p. 117.