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Part of European Paintings
Moretto da Brescia (Alessandro Bonvicino) (Italian, Brescia ca. 1498–1554 Brescia)
Date: 1554Accession Number: 12.61
Giovanni Battista Moroni (Italian, Albino, no later than 1524–1578 Albino)
Date: shortly after 1553Accession Number: 13.177
Correggio (Antonio Allegri) (Italian, Correggio, active by 1514–died 1534 Correggio)
Accession Number: 12.211
Dosso Dossi (Giovanni de Lutero) (Italian, Tramuschio ca. 1486–1541/42 Ferrara)
Accession Number: 26.83
Giovanni Gerolamo Savoldo (Italian, Brescia 1480/85–after 1548)
Accession Number: 12.14
Girolamo Romanino (Italian, Brescia 1484/87–1560 Brescia)
Date: ca. 1540Accession Number: 1989.86
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In the sixteenth century, the northern cities of Milan, Brescia, Parma, Bologna, and Ferrara made crucial contributions to the history of European art, despite their turbulent political histories. Brescia had been absorbed into the Venetian state in 1426; Bologna lost its independence in 1506, becoming part of the Papal States; in 1525 Milan definitively lost its independence to the Habsburgs; and in 1545 the pope transformed Parma into an independent duchy ruled by the Farnese family. Ferrara remained independent under the Este dukes until 1598, when it, too, passed to the papacy. The two greatest painters were Parmigianino, an exponent of Mannerism, and Correggio, whose exploration of the world of ecstatic emotion laid the basis for the style we know as Baroque. Moretto da Brescia's insistence on the close study of posed models and nature became a reference point for Caravaggio, who was trained in Milan. Moretto's compatriot and sometime collaborator Girolamo Romanino embraced a raw expressivity much influenced by the engravings of Albrecht Dürer, and Giovanni Battista Moroni was the defining portraitist of the Counter-Reformation.
The R. H. Macy Gallery
