Las óleos de todo Santi Di Tito
ID Image  Painting (From A to Z)       Details 
29020  
Santi Di Tito, Christ's Entrane into Jerusalem
  		 Christ's Entrane into Jerusalem   mk65 Oil on panel 137 13/16x90 9/16in Accademia,Gallery
30524  
Santi Di Tito, Portrait of Niccolo Macchiavelli
  		 Portrait of Niccolo Macchiavelli   mk68 oil on canvas Florence, Palazzo Vecchio c.1580 Italy
97051  
Santi Di Tito, Suor Maria Maddalena de Pazzi
  		 Suor Maria Maddalena de Pazzi   1583(1583) Medium oil cyf
29021  
Santi Di Tito, The Depostition from the Cross with the Virgin,SS.Johnt the Baptist and Catherine of Alexandria,and the Patron,Bal-dassarre Suarez
  		 The Depostition from the Cross with the Virgin,SS.Johnt the Baptist and Catherine of Alexandria,and the Patron,Bal-dassarre Suarez   mk65 Oil on panel 78 3/4x66 1/8in Accademia,Gallery
76715  
Santi Di Tito, Vision of St Thomas Aquinas
  		 Vision of St Thomas Aquinas   1593(1593) Oil on panel 233 cm (91.7 in). Height: 362 cm (142.5 in). cjr
80193  
Santi Di Tito, Vision of St Thomas Aquinas
  		 Vision of St Thomas Aquinas   1593(1593) Medium Oil on panel Dimensions Height: 362 cm (142.5 in). Width: 233 cm (91.7 in). cyf
Santi Di Tito
Italian Painter and Architect, 1536-ca.1602 was an Italian painter of Late-Mannerist or proto-Baroque style, what is sometimes referred to as Contra-Maniera. Born in Borgo San Sepolcro, in Tuscany. There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli. From 1558-1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (Homage of the People) alongside Giovanni de' Vecchi and Niccol?? Circignani. He acquired a classical trait, described as Raphaelesque by S.J. Freedburg. This style contrasted with the reigning ornate Roman painterliness of the Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, and Bronzino. Among his pupils was Cigoli. Another pupil named Francesco Mochi became a sculptor in the Baroque style, creating among other pieces, the colossal Saint Veronica', supervised by Gianlorenzo Bernini and placed in the crossing of St. Peter's Basilica in Rome. After returning to Florence in 1564, He joined the Accademia del Disegno, and he did not venture to paint outside of Tuscany. He contributed two unusual paintings for the Duke's study and laboratory, the Studiolo of Francesco I in the Palazzo Vecchio. This artistic project was partly overseen by Giorgio Vasari. These paintings are (the Sisters of Fetonte and Hercules and Iole).



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