All the oil paintings of BECCAFUMI, Domenico

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ID	Image	Painting(From A to Z)	Details
4990		Birth of the Virgin dfgf	c. 1543 Oil on wood, 233 x 145 cm Accademia, Siena
4997		Fall of the Rebellious Angels gjh	1540s Oil on wood, 347 x 227 cm Pinacoteca Nazionale, Siena
4998		Madonna with the Infant Christ and St John the Baptist gfgf	c. 1540 Oil on panel, 90 x 65 cm Galleria Nazionale d'Arte Antica, Rome
4995		Moses and the Golden Calf fgg	1536-37 Oil on wood, 197 x 139 cm Duomo, Pisa
4993		St Lucy fgg	1521 Oil on wood Pinacoteca Nazionale, Siena
4991		Stigmatization of St Catherine of Siena	c. 1515 Oil on wood, 208 x 156 cm Pinacoteca Nazionale, Siena
4992		Tanaquil gffn	1519 Oil on wood, 92 x 53 cm National Gallery, London
4996		The Annunciation jhn	c. 1545 Oil on wood SS. Martino and Vittorio, Sarteano (Siena)
4994		The Holy Family with Young Saint John dfg	around 1530 Oil on panel, diameter 84 cm Galleria degli Uffizi, Florence
4989		Trinity (detail) df	1513 Oil on wood Pinacoteca Nazionale, Siena
4988		Trinity fgj	1513 Oil on wood, 152 x 228 cm Pinacoteca Nazionale, Siena

BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.