All PALMA GIOVANE's oil paintings

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8437

A Sibyl ag

c. 1520 Oil on poplar panel, 74 x 55,1 cm Royal Collection, Windsor

8429

Apollo and Marsyas (1) ag

Oil on canvas, 134 x 195 cm Herzog Anton Ulrich-Museum, Braunschweig

8428

Apollo and Marsyas (1)a sg

Oil on canvas, 134 x 195 cm Herzog Anton Ulrich-Museum, Braunschweig

86833

Bimba a mezzo busto

Oil on cardboard Dimensions Italiano: 38 x 28 cm cyf

80261

Christ supported by two cherubs supporting a Cero

Info from source: Jacopo Negretti, called " PALMA IL GIOVANE " (1548 Venice 1628), Christ supported by two putti each supporting a Cero, oil on slate, 31 x 25.5 cm author died 1628 cjr

31363

Mars and Venus

nn07 probably 1585-90

43066

Mars,Venus and Cupid

mk170-1585-1590 Oil on canvas 130.9x165.6cm

84498

PALMA GIOVANE

oil on slate, 31 x 25.5 cm Date Unknown; author died 1628 cyf

8435

Portrait of a Man atgy

1512-15 Oil on canvas, 93,5 x 72 cm The Hermitage, St. Petersburg

39597

Portrait of a Sculptor

mk150 c.1600 Canvas 62x48.5cm

32583

Recreation by our Gallery

mk79 About 1580

32601

Recreation by our Gallery

mk79 1610-1615

96701

San Giacomo Minore

oil on canvas Dimensions 158 X 115 cm cyf

26768

Self-Portrait Painting the Resurrection of Christ

1590S Oil on canvas 126x96cm Brera,Milan

63830

The Pool

1592 Oil on canvas Collezione Molinari Pradelli, Castenaso St John's version (John 5:1-15) of the miracle of the healing of the paralytic lays the scene in Jerusalem at the pool of Bethesda. (According to Matthew, Mark and Luke it took place at Kapernaum.) The place was a resort of the sick since the waters were believed to have miraculous curative powers. It was said that from time to time an angel, traditionally the archangel Gabriel, came and disturbed the water and that the first person to enter it afterwards was healed. But the paralytic had never succeeded in being first. Christ came there and found him. He was ordered to take up his bed and walk and immediately found himself cured. John described it as 'a place with five colonnades', and therefore represented with some such architectural feature. Christ addressing the paralytic who lies at the edge of the pool. Others, sick and infirm crowd the scene. Palma's painting was clearly inspired by the great examples of sixteenth-century Venetian art and in particular by the works of Tintoretto. The composition is typical of Palma the Younger's mature style. Compositional flair, the employment of diagonal perspectives and rich colours almost obliterated by heavy shadow as well as the theatrical eloquence of the gestures and use of foreshortening are all typical characteristics of Palma the Younger's style of painting. When he managed to control all of them, as in this splendid example, he took post-Renaissance Venetian painting, generally considered a dismal period in art, to its highest degree of effectiveness and expression. When, on the other hand, the effects he used degenerated into repetitive formulas, seventeenth-century Venetian art very quickly became monotonous. This painting is a part of the Collezione Molinari Pradelli, the most extensive private collection of seventeenth- and eighteenth-century art in Italy.Artist:PALMA GIOVANE Title: The Pool Painted in 1551-1600 , Italian - - painting : religious

PALMA GIOVANE

Italian Mannerist Painter, ca.1548-1628 Son of Antonio Palma. A greater artist than his father, his vast oeuvre represents the impact of central Italian Mannerism but principally of Jacopo Tintoretto on Venetian painting in the generation after Titian, Tintoretto and Paolo Veronese. He died in his late seventies and was occasionally referred to as 'il vecchio', but since the 17th century he has been known as 'il giovane' to distinguish him from his great uncle. He was virtually self-taught, apart from a presumed acquaintance with his father's workshop. In 1567 he came to the attention of Guidobaldo II della Rovere, Duke of Urbino, who was to support him for four years. A possible knowledge of Federico Barocci's art at the court of Urbino left little trace on his surviving early works. The Duke sent him to Rome for study, where he spent a few months apprenticed to an unknown artist. There his sympathy was with Taddeo Zuccaro and Federico Zuccaro, who influenced the graphic style of the drawing of Matteo da Lecce (1568; New York, Pierpont Morgan Lib.), his first dated work. His Roman sojourn, which lasted until c. 1573-4, made a direct impact on some of his Venetian works and indirectly made him receptive to Tintoretto's style. A tendency in Rome in the 1560s to retreat from the most artificial and decorative aspects of Mannerism in favour of naturalism was also to affect Palma's attitude to style in his mature works

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