Rome Sebastiano del Piombo

1 rome

1.1 1511-20
1.2 1520-1531
1.3 1532-1547

rome
1511-20

death of adonis, uffizi, c. 1512-13



the raising of lazarus (1517-1519)

in 1511 papal banker agostino chigi richest man in rome, , generous patron of arts. in year sent venice pope julius ii buy venetian support papacy in war of league of cambrai. when returned rome after stay of 6 months, brought sebastiano him; sebastiano remain based in rome rest of life. sebastiano began painting mythological subjects in lunettes in sala di galatea in chigi s villa farnesina, under ceiling done baldassarre peruzzi. in these shows adaption roman style, of michelangelo, sistine chapel ceiling had been completed. next year, added large polyphemus. possible raphael s famous galatea of 1514, in next bay , dominates room, replaced fresco sebastiano. larger cycle on lower walls apparently intended, abandoned, reasons not clear.

sebastiano had been producing easel paintings after arrival, showing development of new style. death of adonis in uffizi dates 1512-13, , shows had achieved working dialectic of roman , venetian classical styles , in enlarged proportion of figures bulking massiveness, ponderous , sensuously splendid: idealizations, of sensuous existence .

by 1515, sebastiano had befriended , allied himself michelangelo, recruited him kind of deputy him in painting , having returned backlog of promised projects in sculpture. michelangelo s intention sebastiano contest raphael s first place in painting in rome, using @ least in part ideas , designs supplied michelangelo, rivalry raphael had become intense. intention may have been closer relationship resulted, in 1516 michelangelo returned florence, returning rome several years after.

the first result of collaboration 1 of sebastiano s important paintings, pietà in viterbo. here composition highly unusual common subject (which michelangelo had famously sculpted in 1498-99), christ lying across bottom of picture space, @ feet of virgin looking heaven, 2 figures not touch. though no drawing survives, michelangelo s conception, idea of high tragic power expressed extreme simplicity in structure of severe geometric rigour . of panels have large sketches in charcoal seem both artists. in 1516 painted similar subject, lamentation of jesus (now hermitage museum) using own composition, , showing awareness of raphael s handling of groups of figures.

these led florentine friend of michelangelo, pierfrancesco borgherini, commission sebastiano decorate chapel in san pietro in montorio in rome; no doubt hoped significant input michelangelo. there michelangelo drawing of 1516 flagellation of jesus in british museum, , other sketches; final design survives in copy giulio clovio after michelangelo drawing (royal collection). in event there series of interruptions , sebastiano did not complete chapel until 1524. flagellation painted in oil on plaster. method first practiced domenico veneziano, , afterwards other artists; according vasari sebastiano succeeded in preventing colours blackening.

the last major work of period raising of lazarus, in national gallery, london, commissioned in 1516 cardinal giulio de medici, archbishop of narbonne in southern france, , future pope clement vii, in blatent competition, engineered michelangelo, painting of same size raphael, transfiguration. both supposed hang in narbonne cathedral. michelangelo supplied @ least drawings figure of lazarus , 2 men supporting him (british museum), did not work on painting itself, if because briefly in rome during time painted. when 2 paintings hung in vatican, after raphael s death in 1520, both praised, raphael preferred, has remained case ever since.

in 1520s sebastiano completed borgherini chapel transfiguration in semi-dome above flagellation. combination shows influence of apocalipsis nova, contemporary text prophesied coming of angelic pastor bring new age of peace. michelangelo among many reformist catholics interested in text. flagellation represents current, corrupted state of christianity , transfiguration glorious future come.

1520-1531

matthew , isaiah, on transfiguration in san pietro in montorio, 1524



fresco transfiguration in san pietro in montorio, 1524.

the death of raphael in 1520, before exhibition of 2 rival paintings intended narbonne, left sebastiano leading painter operating in rome. letters show, attempted secure himself sala dei pontefici , raphael s next vatican project, frustrated raphael s workshop, armed master s drawings, , own inability enlist michelangelo s help, pope had told him work exclusively on long-promised tomb of pope julius ii. in following years sebastiano avoided large commissions churches, , concentrated on portraits, had considerable reputation, , religious easel paintings, such visitation france (1518–19, louvre), , madonna of veil (c. 1525), successful adaptation of raphael s madonna di loreto. both of these types brought refined monumental classicism.

his career in decade impacted outside events. in 1522 there plague in rome, , may have left rome long period; there little evidence of activity on year. in 1523 giulio de medici became pope clement vii, , thereafter sebastiano seems have been part of vatican court life. painted number of portraits of pope, , other paintings him. in 1527 seems have remained pope through horrors of sack of rome , nervous retreat orvieto, though seems have spent time in venice in 1528 , perhaps 1529, first known return there since 1511. catastrophe brought end high renaissance epoch in rome, scattering raphael s workshop , emerging roman mannerists, , largely destroying confidence of patrons.

in 1531 death of previous holder allowed sebastiano press pope clement lucrative office of piombatore , obtained after promising pay fixed sum of 300 scudi annually other main contender, giovanni da udine, painter, raphael s workshop. hold position had take vows friar, despite having wife , 2 children. after paintings, more signed dated, carry signatures such f(rater) sebastianus ven(etus) .

1532-1547

sebastiano s artistic output reduced after taking court role, though possibly not as vasari suggests. large projects, of single painting, take many years complete, pieta spain. last piece michelangelo helped him drawing. vasari, influenced michelangelo, places great emphasis on sebastiano s turning away art comfortable life well-paid courtier point, may overstate reality.

the largest fragment of visitation sebastiano left unfinished; 1 of last works, 1540s. alnwick castle.

his friendship michelangelo came end in 1534, after disagreement on latter s last judgment in sistine chapel. sebastiano encouraged pope insist picture should executed in oil on plaster, technique had developed , used. enormous wall prepared smooth plaster needed this, michelangelo apparently acquiescent. there may have been idea floated sebastiano might painting michelangelo s designs. michelangelo may have tried painting in oils on smooth surface. clear several months after idea of using oils first appeared, michelangelo , furiously rejected it, , insisted whole wall re-plastered in rough arriccio needed base fresco. on occasion famously said oil painting art women , leisurely , idle people fra sebastiano .

two late projects churches never finished sebastiano. large altarpiece of birth of virgin, still in santa maria del popolo, rome, begun in late 1530s had finished after death francesco salviati. before death in 1541, executor of agostino chigi’s estate commissioned large visitation memorial, in santa maria della pace, rome. still half-finished @ sebastiano s death in 1547, , removed in 17th century. fragments of on life-size main figures @ alnwick castle, in style of impressive simplicity, end point of tendency over-generalize appearances , pictorial structures verged on effect of geometrical abstraction had been increasing apparent in work since years in rome.

vasari records died after short illness on 14 june 1547, @ age of 62. directed buried in santa maria del popolo, savings not having elaborate burial given poor. after efforts daniele da volterra remains moved in 1561 predecessor of rome accademia di san luca.