Giampietrino

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Christ Carrying the Cross by Giovan Pietro Rizzoli known as Giampietrino, early 1530s

Giampietrino, probably Giovanni Pietro Rizzoli (active 1495–1549),

S. J. Freedberg as an "exploiter of Leonardo's repertory."[2]

Biography

Museu de Arte de São Paulo

Giampietrino was a productive painter of large altarpieces, Madonnas, holy women in half figure, and mythological women. For a long time, the true identity of the artist was unknown; he was only known as a so-called "Giampietrino" whose name appeared in lists of the members of Leonardo's studio. In 1929, Wilhelm Suida suggested that he could perhaps be Giovanni Battista Belmonte, since a Madonna signed with this name and dated 1509 had been associated stylistically with Giampietrino. Since then, this assumption is considered outdated, and Giampietrino is identified predominantly with Giovanni Pietro Rizzoli, who is known through documents.

Giampietrino has been regarded as a talented painter who contributed substantially to the distribution of the late style of Leonardo da Vinci. He copied many works by Leonardo, as well as leaving behind numerous capable original compositions of his own. Many of his works are preserved in multiple versions of the same subject.

Leda con i loro figli

Selected works

Vergine delle Rocce or Virgin of the Rocks Cheramy, a meticulous copy of Virgin of the Rocks in the Louvre painted by Leonardo da Vinci. Recently the subject of a new book (2017) and attributed to Leonardo and workshop by Professor Carlo Pedretti. Previously incorrectly attributed only to Giampetrino. Mentioned by Jean-Auguste-Dominique Ingres in 1845 and by Pierre Puvis de Chavannes, who were both convinced that it was a Leonardo original. According to the world's top Leonardo expert Professor Carlo Pedretti, this painting "is wholly similar to the one in the Louvre" (see http://www.italymagazine.com/italy/marche/virgin-rocks-smash-hit, Italy Magazine, "Virgin of the rocks a smash hit," 9 November 2005). Pedretti says the work - only recently recovered from another private collection - shows "clear signs" of the master's hand. Following detailed restoration of the work, Pedretti is convinced that it is an original Leonardo (Leonardo da Vinci : the "Virgin of the rocks" in the Cheramy version : its history & critical fortune, by Carlo Pedretti and Sara Taglialagamba, 2017).
St. John in Hermitage
Christ with the Symbol of the Trinity
St. John the Baptist
Salome
Diana the Huntress
Royal Academy of Arts, London
; an accurate, full-scale copy of the original that was the main source for the twenty-year restoration of the original work (1978–1998)

Notes

  1. ^ Though Andrea Bayer says "rather securely identified" (Bayer, "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna" The Metropolitan Museum of Art Bulletin, New Series, 60.4 [Spring, 2003], p. 19), Sydney J. Freedberg says "It is uncertain whether this painter is to be identified with Gian Pietro Rizzi or Giovanni di Pietro of Como." (Freedberg, Painting in Italy 1500-1600 3rd ed. 1993:383, note 25).
  2. ^ Freedberg, 1993:383.

References

Wikimedia Commons has media related to Giampietrino.
  • William Suida: Leonardo and His Circle, (Munich: Bruckmann) 1929.
  • The Legacy of Leonardo, (Milan: Skira Editore S.p.A.), 1998.
    ISBN 88-8118-463-X

External links
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