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{{Short description|Italian painter (1454–1513)}}
{{for|the footballer|Alessandro Del Piero}}
{{Infobox artist
{{Infobox artist
| name = Bernardino Pinturicchio
| name = Bernardino Pinturicchio
| image = Pinturicchio self.jpg
| image = Pinturicchio self.jpg
| image_size = 200px
| image_size = 200px
| caption = Self-portrait in the [[Baglioni Chapel]].
| caption = ''[[Self-portrait]]'' at the [[Baglioni Chapel]]
| birth_name = Bernardino di Betto
| birth_name = Bernardino di Betto
| birth_date = 1454
| birth_date = 1454
| birth_place = [[Perugia]], [[Papal States]], Italy
| birth_place = [[Perugia]], [[Papal States]]<br />{{small|(present-day Italy)}}
| death_date = {{death date and age|1513|||1454||}}
| death_date = {{death year and age|1513|1454}}
| death_place = [[Siena]], [[Republic of Siena]], Italy
| death_place = [[Siena]], [[Republic of Siena]]<br />{{small|(present-day Italy)}}
| nationality = [[Italians|Italian]]
| nationality = Italian
| field = [[Painting]], [[Fresco]]
| field = [[Painting]], [[fresco]]
| training = [[Pietro Perugino]]
| training = [[Pietro Perugino]]
| movement = [[Italian Renaissance]]
| movement = [[Italian Renaissance]]
| works =
| works =
| patrons =
| patrons =
| influenced by =
| influenced by =
| influenced =
| influenced =
| awards =
| awards =
}}
}}
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[[Image:Pinturicchio Crucifixion.jpg|220px|thumb|''[[The Crucifixion with Sts. Jerome and Christopher]]'', 1471, oil on wood, 59&nbsp;×&nbsp;40 cm, [[Galleria Borghese]], Rome.]]
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[[Image:Pintoricchio 002.jpg|220px|thumb|Fresco at [[Duomo di Siena|Siena Cathedral]] depicting [[Pope Pius II]].]]


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[[Image:Pinturicchio Crucifixion.jpg|220px|thumb|''[[Crucifixion between Sts. Jerome and Christopher|The Crucifixion with Sts. Jerome and Christopher]]'', 1471, oil on wood, 59&nbsp;×&nbsp;40 cm, [[Galleria Borghese]], Rome]]
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'''Pintoricchio''' or '''Pinturicchio''' ({{IPAc-en|US|ˌ|p|ɪ|n|t|ə|ˈ|r|iː|k|i|oʊ}},<ref>{{Cite Merriam-Webster|Pinturicchio|access-date=21 June 2019}}</ref> {{IPA-it|pintuˈrikkjo|lang}}) whose birth name was '''Bernardino di Betto''', also known as '''Benetto di Biagio''' or '''Sordicchio''', was an [[Italy|Italian]] [[Painting|painter]] during the [[Renaissance]]. Born in Perugia in 1454 and dying in Siena in 1513, Pintoricchio acquired his nickname (meaning "little painter") because of his small stature. He also used it to sign some of his 15th and 16th century artworks.<ref name=":0">"PINTURICCHIO." ''Benezit Dictionary of Artists''. ''Oxford Art Online''. Oxford University Press. Web. 14 February 2017. <<nowiki>http://www.oxfordartonline.com/subscriber/article/benezit/B00142364</nowiki>>.</ref>
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[[Image:Pintoricchio 002.jpg|220px|thumb|Fresco at [[Siena Cathedral]] depicting [[Pope Pius II]]]]
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'''Pinturicchio''', or '''Pintoricchio''' ({{IPAc-en|US|ˌ|p|ɪ|n|t|ə|ˈ|r|iː|k|i|oʊ}},<ref>{{Cite Merriam-Webster|Pinturicchio|access-date=21 June 2019}}</ref> {{IPA-it|pintuˈrikkjo|lang}}; born '''Bernardino di Betto'''; 1454&ndash;1513), also known as '''Benetto di Biagio''' or '''Sordicchio''', was an Italian painter during the [[Renaissance]]. He acquired his nickname (meaning "little painter") because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.<ref name=":0">"PINTURICCHIO." ''Benezit Dictionary of Artists''. ''Oxford Art Online''. Oxford University Press. Web. 14 February 2017. http://www.oxfordartonline.com/subscriber/article/benezit/B00142364 .</ref>


==Biography==
==Biography==
{{More citations needed|section|date=November 2021}}

===Early years===
===Early years===
[[File:Aracoeli8.jpg|220px|thumb|left|[[Bernard of Clairvaux]] between [[Louis of Toulouse]] and [[Anthony of Padua]], [[Bufalini Chapel]], [[Santa Maria in Aracoeli]], Rome.]] Pinturicchio was born the son of Benedetto or Betto di Biagio, in [[Perugia]]. In his career, he may have trained under lesser known Perugian painters such as [[Benedetto Bonfigli|Bonfigli]] and [[Fiorenzo di Lorenzo]]. According to [[Giorgio Vasari|Vasari]], Pinturicchio was a paid assistant of [[Pietro Perugino|Perugino]].
[[File:Aracoeli8.jpg|220px|thumb|[[Bernard of Clairvaux]] between [[Louis of Toulouse]] and [[Anthony of Padua]], [[Bufalini Chapel]], [[Santa Maria in Aracoeli]], Rome]]
Pinturicchio was born the son of Benedetto or Betto di Biagio, in [[Perugia]]. In his career, he may have trained under lesser known Perugian painters such as [[Benedetto Bonfigli|Bonfigli]] and [[Fiorenzo di Lorenzo]]. According to [[Giorgio Vasari|Vasari]], Pinturicchio was a paid assistant of [[Pietro Perugino|Perugino]].

The works of the Perugian Renaissance school are very similar and often paintings by Perugino, Pinturicchio, [[Lo Spagna]], and a young [[Raphael]] may be mistaken, one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master's sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories.


The works of the Perugian Renaissance school are very similar; and paintings by Perugino, Pinturicchio, [[Lo Spagna]] and a young [[Raphael]] may often be mistaken one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master's sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories. His assignment in Rome, to decorate the Sistine Chapel, was an experience fraught with learning from prominent artists of the time, including: [[Sandro Botticelli]], [[Domenico Ghirlandaio]], [[Pietro Perugino|Pietro Vanucci]], and [[Luca Signorelli]]. The Sistine Chapel was also where it is believed that Pinturicchio was collaborating with Perugino to some extent.<ref name=":0" />
His assignment in Rome, to decorate the Sistine Chapel, was an experience fraught with learning from prominent artists of the time, including: [[Sandro Botticelli]], [[Domenico Ghirlandaio]], [[Pietro Perugino|Pietro Vanucci]], and [[Luca Signorelli]]. The Sistine Chapel was where it is believed that Pinturicchio was collaborating with Perugino to some extent.<ref name=":0" /> Pinturicchio's fresco, ''Assumption of Mary'', executed in 1481 on the alter wall of the Sistine Chapel, was destroyed in 1535 to make way for Michelangelo's Last Judgement.


===Work in Santa Maria del Popolo in Rome===
===Work in Santa Maria del Popolo in Rome===
[[Image:Bernardino Pinturicchio - Saint Jerome in the Wilderness - Walters 371089.jpg |left|thumb|''[[Saint Jerome in the Desert (Pinturicchio)|Saint Jerome in the Desert]], c.1475-1480, oil on panel,'' 149.8 x 106 cm, [[Walters Art Museum]], Baltimore.]]
[[Image:Bernardino Pinturicchio - Saint Jerome in the Wilderness - Walters 371089.jpg |thumb|''[[Saint Jerome in the Desert (Pinturicchio)|Saint Jerome in the Desert]]'', c. 1475-1480, oil on panel, 149.8 x 106 cm, [[Walters Art Museum]], Baltimore]]
After assisting Perugino in his [[fresco]]es in the [[Sistine Chapel]]<!--NOTE: the attribution to him of ''Moses Journeying into Egypt is wrong-->, Pinturicchio was employed by various members of the Della Rovere family to decorate the [[Semi-Gods Ceiling]] of [[Palazzo dei Penitenzieri]] and also a series of chapels in the church of [[Santa Maria del Popolo]], where he appears to have worked from 1484, or earlier, to 1492. "Would be, if it had been left with all its original decorations, one of the finest monuments to Pintoricchio’s art in Italy. A great deal still remains, but much has been swept away", sums up his work in that basilica Evelyn March Phillipps.<ref name="P1901">Phillipps, cit., pag. 59.</ref>
After assisting Perugino in his [[fresco]]es in the [[Sistine Chapel]]<!--NOTE: the attribution to him of ''Moses Journeying into Egypt is wrong-->, Pinturicchio was employed by various members of the Della Rovere family to decorate the [[Semi-Gods Ceiling]] of [[Palazzo dei Penitenzieri]] as well as a series of chapels in the church of [[Santa Maria del Popolo]], where he appears to have worked from 1484, or earlier, until 1492.


Critic Evelyn March Phillipps sums up his work by saying that the basilica "[w]ould be, if it had been left with all its original decorations, one of the finest monuments to Pintoricchio’s art in Italy. A great deal still remains, but much has been swept away".<ref name="P1901">Phillipps, cit., pag. 59.</ref>
The earliest of his works is an altarpiece of the ''Adoration of the Shepherds'', in the [[Della Rovere Chapel (Santa Maria del Popolo)|Della Rovere Chapel]], the first chapel (from the west) on the south, built by Cardinal [[Domenico della Rovere]]. In the [[lunette]]s under the vault Pinturicchio painted small scenes from the life of [[St Jerome]].The polychrome grotesque wall decoration on yellow-gold background were probably inspired by the paintings of the [[Domus Aurea]], and belong the earliest and highest quality of their kind in Rome.


The frescos which he painted in the [[Cybo Chapel (Santa Maria del Popolo)|Cybo Chapel]], built by Cardinal [[Lorenzo Cybo de Mari]] in the beginning of the 16th century, were destroyed in 1682, when the chapel was rebuilt by Cardinal [[Alderano Cybo]]. The old fresco of the ''Virgin and the Child'' by Pinturicchio was detached from the wall and sent by the cardinal to [[Massa]] in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the [[Cathedral of Massa]].<ref name="F2003">Federici (2003), cit., pag. 344-45, 350.</ref>
The earliest known of his works is an altarpiece of the ''Adoration of the Shepherds'', in the [[Della Rovere Chapel (Santa Maria del Popolo)|Della Rovere Chapel]], the first chapel (from the west) on the south, built by Cardinal [[Domenico della Rovere]]. In the [[lunette]]s under the vault Pinturicchio painted small scenes from the life of [[St. Jerome]]. The polychrome grotesque wall decoration on yellow-gold background probably was inspired by the paintings of the [[Domus Aurea]], and belong the earliest and highest quality of their kind in Rome.


The frescos he painted in the [[Cybo Chapel (Santa Maria del Popolo)|Cybo Chapel]], built by Cardinal [[Lorenzo Cybo de Mari]] in the beginning of the sixteenth century, were destroyed in 1682, when the chapel was rebuilt by Cardinal [[Alderano Cybo]]. The old fresco of the ''Virgin and the Child'' by Pinturicchio was detached from the wall and sent by the cardinal to [[Massa, Tuscany|Massa]] in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the [[Cathedral of Massa]].<ref name="F2003">Federici (2003), cit., pp. 344-45, 350.</ref>
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The third chapel on the south is that of [[Girolamo Basso della Rovere]], nephew of [[Pope Sixtus IV]], and bishop of [[Recanati]]. The [[Basso Della Rovere Chapel (Santa Maria del Popolo)|Basso Della Rovere Chapel]] contains a fine altarpiece of the ''Madonna enthroned between Four Saints'', and on the east side a very nobly composed fresco of the ''Assumption of the Virgin''. The vault and its lunettes are richly decorated with small pictures of the [[Life of the Virgin]], surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very graceful and powerfully drawn female figures in full length in which the influence of [[Luca Signorelli]] may be traced.


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The third chapel on the south is that of [[Girolamo Basso della Rovere]], nephew of [[Pope Sixtus IV]], and bishop of [[Recanati]]. The [[Basso Della Rovere Chapel (Santa Maria del Popolo)|Basso Della Rovere Chapel]] contains a fine altarpiece, ''Madonna enthroned between Four Saints'', and on the eastern side a very nobly composed fresco of the ''Assumption of the Virgin''. The vault and its lunettes are richly decorated with small paintings of the [[Life of the Virgin]], surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very gracefully and powerfully drawn figures of women in full length, in which the influence of [[Luca Signorelli]] may be traced.
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In the [[Costa Chapel (Santa Maria del Popolo)|Costa Chapel]], Pinturicchio or one of his helpers painted the ''Four Latin Doctors'' in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel of the ''Coronation of the Virgin'', and surrounding it, are medallions of the [[Four Evangelists]]. The spaces between them are filled by reclining figures of the [[Four Sibyls]]. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands which separate these pictures have elaborate arabesques on a [[gold ground]], and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below. No finer specimen of the decoration of a simple quadripartite vault can be seen anywhere.

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In the [[Costa Chapel (Santa Maria del Popolo)|Costa Chapel]], Pinturicchio or one of his helpers painted the ''Four Latin Doctors'' in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel, ''Coronation of the Virgin'', and surrounding it, are medallions of the [[Four Evangelists]]. The spaces between them are filled by reclining figures of the [[Four Sibyls]]. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands that separate these paintings have elaborate arabesques on a [[gold ground]], and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below.


==Works in the Vatican Library==
==Works in the Vatican Library==
In 1492, Pinturicchio was summoned to [[Orvieto Cathedral]].<!-- stuff missing?? --> He was employed by [[Pope Alexander VI]] (Borgia) to decorate a recently completed suite of six rooms, the [[Borgia Apartments]] in the [[Apostolic Palace]] of the Vatican. These rooms now form part of the [[Vatican Library]],<!-- don't think so - they are on the tourist route, and empty --> and five still retain a series of Pinturicchio frescoes. The Umbrian painter worked in these rooms till around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and company.<ref name=":0" />
In 1492, Pinturicchio was summoned to [[Orvieto Cathedral]].<!-- stuff missing?? --> However, he was also commissioned by [[Pope Alexander VI]] (Borgia) to decorate a recently completed suite of six rooms, the [[Borgia Apartments]] in the [[Apostolic Palace]] of the Vatican. These rooms now form part of the [[Vatican Library]],<!-- don't think so - they are on the tourist route, and empty --> and five still retain a series of Pinturicchio frescoes. He worked in these rooms until around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and others.<ref name=":0" />


His other chief frescoes in Rome, still existing in good condition, are in the [[Bufalini Chapel]] in the southwest sector of [[Santa Maria in Ara Coeli]], probably executed around 1484–1486. On the altar wall is a grand painting of [[St Bernardino of Siena|St. Bernardino of Siena]] between two other saints, crowned by angels; in the upper part is a figure of Christ in a [[mandorla]], surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St Bernardino, which includes portraits of members of the sponsoring Bufalini family.
Among other important frescoes by Pinturicchio that still exist in Rome and are in good condition, are in the [[Bufalini Chapel]] in the southwest sector of [[Santa Maria in Ara Coeli]], probably executed around 1484–1486. On the altar wall is a grand painting of [[St Bernardino of Siena|St. Bernardino of Siena]] between two other saints, crowned by angels; in the upper part is a figure of Christ in a [[mandorla]], surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St. Bernardino, which includes portraits of members of the sponsoring Bufalini family.


One group of three females, the central figure with a child at her breast, recalls the grace of [[Raphael|Raphael's]] second manner. The composition of the main group round the saint's corpse appears to have been suggested by [[Giotto]]'s painting of [[Francis of Assisi|St. Francis]] on his bier found in [[Basilica di Santa Croce di Firenze|Santa Croce]] at Florence. On the vault are four noble figures of the Evangelists, usually attributed to [[Luca Signorelli]], but more likely, as with the rest of the frescoes in this chapel, by the hand of Pinturicchio. On the vault of the sacristy of [[Santa Cecilia in Trastevere]], Pinturicchio painted the Almighty surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted two more figures of the Latin Doctors in the choir of the Duomo. Now, like the rest of his work at Orvieto, these figures are almost destroyed. For these he received fifty gold ducats. In Umbria, his masterpiece is the [[Baglioni Chapel]] in the church of S. Maria Maggiore in [[Spello]].
One group of three women, the central figure with a child at her breast, recalls the grace of [[Raphael|Raphael's]] second manner. The composition of the main group around the saint's corpse appears to have been suggested by [[Giotto]]'s painting of [[Francis of Assisi|St. Francis]] on his bier that is found in [[Basilica di Santa Croce di Firenze|Santa Croce]] at Florence. On the vault are four noble figures of the Evangelists, usually attributed to [[Luca Signorelli]], but as with the rest of the frescoes in this chapel, they are more probably by Pinturicchio. On the vault of the sacristy of [[Santa Cecilia in Trastevere]], Pinturicchio painted the Almighty surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted in the choir of the Duomo two more figures of the Latin Doctors. For these he received fifty gold ducats. Now, like the rest of his work at Orvieto, these figures are almost destroyed. In Umbria, his masterpiece is the [[Baglioni Chapel]] in the church of S. Maria Maggiore in [[Spello]].


Among his panel pictures the following are the most important. An altarpiece for S. Maria de' Fossi at Perugia, painted in 1496–1498, now moved to the city's picture gallery, is a ''Madonna enthroned among Saints'', very minutely painted; the wings of the retable have standing figures of [[Augustine of Hippo|St. Augustine]] and St Jerome; and the [[predella]] has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino &mdash; the Madonna enthroned looks down towards the kneeling donor. The angels at the sides in beauty of face and expression recall the manner of [[Lorenzo di Credi]] or [[Da Vinci]].
Among his panel paintings the following are the most important: an altarpiece for S. Maria de' Fossi at Perugia, painted in 1496–1498, now moved to the city gallery, depicts a ''Madonna enthroned among Saints'', very minutely painted; the wings of the retable have standing figures of [[Augustine of Hippo|St. Augustine]] and St. Jerome; and the [[predella]] has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino &mdash; the Madonna enthroned looks down toward the kneeling donor. In beauty of face and expression, the angels at the sides recall the manner of [[Lorenzo di Credi]] or [[Da Vinci]].


The Vatican picture gallery has the largest of Pinturicchio's panels &mdash; the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.
The Vatican galleries have the largest of Pinturicchio's panels &mdash; the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.


In 1504 he designed a mosaic floor panel for the [[Duomo di Siena|Cathedral of Siena]]: ''the Story of Fortuna, or the Hill of Virtue''. This was executed by [[Paolo Mannucci]] in 1506. On top of the panel, a symbolic representation of Knowledge hands the palm of victory to [[Socrates]].
In 1504, Pinturicchio designed a mosaic floor panel for the [[Duomo di Siena|Cathedral of Siena]]: ''the Story of Fortuna, or the Hill of Virtue''. This was executed by [[Paolo Mannucci]] in 1506. On top of the panel, a symbolic representation of Knowledge hands the palm of victory to [[Socrates]].


The [[Ashmolean Museum]] (University of Oxford), [[Biblioteca Ambrosiana]] (Milan), the [[Cleveland Museum of Art]], the [[Courtauld Institute of Art]] (London), the [[Denver Art Museum]], the [[Fitzwilliam Museum]] (University of Cambridge), the [[Honolulu Museum of Art]], the [[Louvre]], the [[Museum of Fine Arts, Boston]], the [[National Gallery, London|National Gallery]], London, [[Palazzo Ruspoli]] (Rome), the [[Philadelphia Museum of Art]], the [[Pinacoteca Ambrosiana]] (Milan), [[Princeton University Art Museum]], [[Walters Art Museum]] in Baltimore, the [[Vatican Museums]] and the [[Museum of Fine Arts (Budapest)]] are among the public collections holding works by Pinturicchio.
Among the public collections holding works by Pinturicchio are, the [[Ashmolean Museum]] (University of Oxford), [[Biblioteca Ambrosiana]] (Milan), the [[Cleveland Museum of Art]], the [[Courtauld Institute of Art]] (London), the [[Denver Art Museum]], the [[Fitzwilliam Museum]] (University of Cambridge), the [[Honolulu Museum of Art]], the [[Louvre]], the [[Museum of Fine Arts, Boston]], the [[National Gallery, London|National Gallery]], London, [[Palazzo Ruspoli]] (Rome), the [[Philadelphia Museum of Art]], the [[Pinacoteca Ambrosiana]] (Milan), [[Princeton University Art Museum]], [[Walters Art Museum]] in Baltimore, the [[Vatican Museums]], and the [[Museum of Fine Arts (Budapest)]].


[[File:Pintoricchio 021.jpg|240px|thumb|''Portrait of a Boy'', c. 1500, [[Gemäldegalerie Alte Meister]].]]
[[File:Pintoricchio 021.jpg|240px|thumb|''Portrait of a Boy'', c. 1500, [[Gemäldegalerie Alte Meister]]]]


== Works ==
== Works ==
[[File:Pinturicchio-spello.jpg|thumb|240px|''Nativity'', at Collegiata di Santa Maria Maggiore, [[Spello]], Italy]]
[[File:Pinturicchio-spello.jpg|thumb|240px|''Nativity'', at Collegiata di Santa Maria Maggiore, [[Spello]], Italy]]
[[File:Assumption of Mary perugino drawing.jpg|thumb|240px|''Assumption of Mary'' (1481), [[Sistine Chapel]], drawing of fresco lost when destroyed to make space for Michelangelo's Last Judgement]]
[[File:Enea Silvio Piccolomini presents emperor Frederick III with his bride-to-be Eleanora of Portugal. Siena Cathedral, Italy.jpg|thumb|240px|Enea Silvio Piccolomini presents emperor Frederick III with his bride-to-be Eleanora of Portugal. Siena Cathedral]]
[[File:Enea Silvio Piccolomini presents emperor Frederick III with his bride-to-be Eleanora of Portugal. Siena Cathedral, Italy.jpg|thumb|240px|Enea Silvio Piccolomini presents emperor Frederick III with his bride-to-be, Eleanora of Portugal – [[Siena Cathedral]].]]
* ''[[Miracles of St Bernardino]]'' (1473), [[Galleria Nazionale dell'Umbria]], [[Perugia]], Italy
* ''[[Miracles of St Bernardino]]'' (1473), [[Galleria Nazionale dell'Umbria]], [[Perugia]]
* ''[[Saint Jerome in the Desert (Pinturicchio)|Saint Jerome in the Desert]]'' (1475-1480), [[Walters Art Museum]], Baltimore, USA
* ''[[Saint Jerome in the Desert (Pinturicchio)|Saint Jerome in the Desert]]'' (1475–1480), [[Walters Art Museum]], [[Baltimore]], Maryland
* ''[[The Crucifixion with Sts. Jerome and Christopher]]'', ''c.'' 1475, oil on wood, 59&nbsp;×&nbsp;40&nbsp;cm, [[Galleria Borghese]], [[Rome]]
* ''[[Crucifixion between Sts. Jerome and Christopher|The Crucifixion with Sts. Jerome and Christopher]]'', c''.'' 1475, oil on wood, 59&nbsp;×&nbsp;40&nbsp;cm, [[Galleria Borghese]], [[Rome]]
* [[Della Rovere Chapel (Santa Maria del Popolo)|Della Rovere Chapel]] (late 1470s to 1482), [[Santa Maria del Popolo]], Rome; including ''The Adoration of the Child with St. Jerome''
* [[Della Rovere Chapel (Santa Maria del Popolo)|Della Rovere Chapel]] (late 1470s to 1482), [[Santa Maria del Popolo]], Rome; including ''The Adoration of the Child with St. Jerome''
* ''[[Madonna with Writing Child and St Jerome|Madonna with Writing Child and St. Jerome]]'' (''c.'' 1481), 49.5&nbsp;×&nbsp;38&nbsp;cm, [[Gemäldegalerie, Berlin|Gemäldegalerie]], Berlin, Germany
* ''[[Madonna and Child with St Jerome|Madonna with Writing Child and St. Jerome]]'' (c''.'' 1481), 49.5&nbsp;×&nbsp;38&nbsp;cm, [[Gemäldegalerie, Berlin|Gemäldegalerie]], [[Berlin]]
* [[Assumption of Mary perugino drawing.jpg|''Assumption of Mary'']], fresco, Sistine Chapel (1481), later destroyed
* ''[[Madonna with Blessing Child (Pinturicchio)|Madonna with Blessing Child]]'' (''c.'' 1480), [[National Gallery]], [[London]]
* ''[[Madonna with Blessing Child (Pinturicchio)|Madonna with Blessing Child]]'' (c''.'' 1480), [[National Gallery]], [[London]]
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* [[Bufalini Chapel]] (''c.'' 1484–1486), frescoes, [[Santa Maria in Aracoeli]], Rome
*
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* [[Basso Della Rovere Chapel (Santa Maria del Popolo)|Basso Della Rovere Chapel]] (''c.'' 1484–1492), frescoes, Santa Maria del Popolo, Rome
* [[Cybo Chapel (Santa Maria del Popolo)|Cybo Chapel]] (''c.'' 1489–1503) in [[Santa Maria del Popolo]], Rome (destroyed); including ''The Virgin and the Child'' now in the [[Cathedral of Massa]]
* [[Bufalini Chapel]] (c''.'' 1484–1486), frescoes, [[Santa Maria in Ara Coeli]], Rome
* [[Costa Chapel (Santa Maria del Popolo)|Costa Chapel]] (''c.'' 1488–90), frescos, Santa Maria del Popolo, Rome: The Four Doctors of the Church
* [[Basso della Rovere Chapel (Santa Maria del Popolo)|Basso Della Rovere Chapel]] (c''.'' 1484–1492), frescoes, Santa Maria del Popolo, Rome
* [[Cybo Chapel (Santa Maria del Popolo)|Cybo Chapel]] (c''.'' 1489–1503) in [[Santa Maria del Popolo]], Rome, Italy (destroyed); including ''The Virgin and the Child'' now in the [[Massa Cathedral|Cathedral of Massa]], [[Massa, Tuscany|Massa]], [[Tuscany]]
* ''[[Madonna of Peace (Pinturicchio)|Madonna of Peace]]'' (''c.'' 1490), oil on panel, 143&nbsp;×&nbsp;70&nbsp;cm, Pinacoteca civica Tacchi-Venturi, [[San Severino Marche]], Italy
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* [[Costa Chapel (Santa Maria del Popolo)|Costa Chapel]] (c''.'' 1488–90), frescos, Santa Maria del Popolo, Rome: The Four Doctors of the Church
* [[Semi-Gods Ceiling]] (''c.'' 1490), oil on paper on wood, [[Palazzo dei Penitenzieri]], Rome
* ''[[Nursing Madonna]]'' (1492), 29.2&nbsp;×&nbsp;21.6&nbsp;cm, [[Sarah Campbell Blaffer Foundation]], [[Houston]], US
* ''[[Madonna of Peace (Pinturicchio)|Madonna of Peace]]'' (c''.'' 1490), oil on panel, 143&nbsp;×&nbsp;70&nbsp;cm, Pinacoteca civica Tacchi-Venturi, [[San Severino Marche]], [[Marche]]
* [[Borgia Apartments]] (''c.'' 1492–1494), frescoes. [[Vatican City]], Rome
* [[Semi-Gods Ceiling]] (c''.'' 1490), oil on paper on wood, [[Palazzo Della Rovere|Palazzo dei Penitenzieri]], Rome
* ''[[Nursing Madonna]]'' (1492), 29.2&nbsp;×&nbsp;21.6&nbsp;cm, [[Sarah Campbell Blaffer Foundation]], [[Houston]], Texas
⚫
* ''[[Madonna col Bambino e paesaggio]]'' 59 x 44&nbsp;cm, [[Art collection of Fondazione Cassa di Risparmio di Perugia|Palazzo Baldeschi]], Perugia, Italy<ref>http://www.arteweb.eu/MULT_BENI_CULTURALI/PintoricchioA3_press.pdf</ref>
* [[Borgia Apartments]] (c''.'' 1492–1494), frescoes. [[Vatican City]], Rome
⚫
* ''[[Madonna with Reading Child]]'' (''c.'' 1494–1498), 33.7&nbsp;×&nbsp;25.4&nbsp;cm, [[North Carolina Museum of Art]], [[Raleigh, North Carolina|Raleigh]], US
⚫
* ''[[Madonna col Bambino e paesaggio]]'' 59 x 44&nbsp;cm, [[Art collection of Fondazione Cassa di Risparmio di Perugia|Palazzo Baldeschi]], [[Perugia]]<ref>http://www.arteweb.eu/MULT_BENI_CULTURALI/PintoricchioA3_press.pdf {{Bare URL PDF|date=March 2022}}</ref>
* ''[[Madonna with Writing Child]]'' (''c.'' 1494–1498), 61&nbsp;×&nbsp;41.6&nbsp;cm, [[Philadelphia Museum of Art]], [[Philadelphia]], US
* ''[[Madonna with Writing Child and Bishop]]'' (''c.'' 1495), 158&nbsp;×&nbsp;77.3&nbsp;cm, [[Museu de Belles Arts de València|Museu de Belles Arts]], [[Valencia, Spain|Valencia]], Spain
* ''[[Madonna with Reading Child]]'' (c''.'' 1494–1498), 33.7&nbsp;×&nbsp;25.4&nbsp;cm, [[North Carolina Museum of Art]], [[Raleigh, North Carolina|Raleigh]], North Carolina
⚫
* ''[[Madonna with the Christ Child Writing|Madonna with Writing Child]]'' (c''.'' 1494–1498), 61&nbsp;×&nbsp;41.6&nbsp;cm, [[Philadelphia Museum of Art]], [[Philadelphia]]
⚫
* Eroli Chapel (1497), frescoes, [[Cathedral of Spoleto]]
* [[Santa Maria dei Fossi Altarpiece]], oil on panel and canvas, 513&nbsp;×&nbsp;314&nbsp;cm, [[Galleria Nazionale dell'Umbria]], Perugia, Italy
* ''[[Madonna and Child with a Bishop|Madonna with Writing Child and Bishop]]'' (c''.'' 1495), 158&nbsp;×&nbsp;77.3&nbsp;cm, [[Museu de Belles Arts de València|Museu de Belles Arts]], [[Valencia]]
⚫
* Eroli Chapel (1497), frescoes, [[Spoleto Cathedral|Cathedral of Spoleto]], [[Spoleto]]
⚫
* ''Portrait of a Boy'' (''c.'' 1500), [[Gemäldegalerie Alte Meister]], [[Dresden]], Germany
* [[Santa Maria dei Fossi Altarpiece]], oil on panel and canvas, 513&nbsp;×&nbsp;314&nbsp;cm, [[Galleria Nazionale dell'Umbria]], Perugia
* [[Baglioni Chapel]] (''c.'' 1500–1501). Santa Maria Maggiore, [[Spello]], Italy
⚫
* ''Portrait of a Boy'' (c''.'' 1500), [[Gemäldegalerie Alte Meister]], [[Dresden]]
⚫
* [[Piccolomini Library]] (1502–1507), frescoes, [[Cathedral of Siena]], Italy
⚫
* [[Baglioni Chapel]] (c''.'' 1500–1501). [[Santa Maria Maggiore]], [[Spello]]
⚫
* ''Coronation of Pius II'' (''c.'' 1503–1508), fresco, [[Cathedral of Siena]]
*
⚫
* St. John the Baptist Chapel (1504), [[Cathedral of Siena]]
⚫
* [[Piccolomini Library]] (1502–1507), frescoes, [[Siena Cathedral|Cathedral of Siena]], [[Siena]]
⚫
* ''[[Madonna Enthroned with Saints (Pinturicchio)|Madonna Enthroned with Saints]]'' (1506–1508), 318&nbsp;×&nbsp;257&nbsp;cm, church of Sant'Andrea, [[Spello]]
⚫
* ''Coronation of Pius II'' (c''.'' 1503–1508), fresco, Cathedral of Siena, Siena
⚫
* ''Virgin and Child'' (51,4&nbsp;×&nbsp;40,6) tempera and gold on wood panel, [[Alicem institute]], Luxembourg
⚫
* St. John the Baptist Chapel (1504), Cathedral of Siena, Siena
⚫
* ''[[Madonna Enthroned with Saints (Pinturicchio)|Madonna Enthroned with Saints]]'' (1506–1508), 318&nbsp;×&nbsp;257&nbsp;cm, church of Sant'Andrea, Spello
⚫
* ''Virgin and Child'' (51,4&nbsp;×&nbsp;40,6) tempera and gold on wood panel, [[Alicem institute]], [[Luxembourg]]


==Notes==
==Notes==
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{{Authority control}}
{{Authority control}}


[[Category:Italian Renaissance painters]]
[[Category:15th-century Italian painters]]
[[Category:Fresco painters]]
[[Category:16th-century Italian painters]]
[[Category:1454 births]]
[[Category:1454 births]]
[[Category:1513 deaths]]
[[Category:1513 deaths]]
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[[Category:Painters from Perugia]]
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[[Category:Fresco painters]]
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[[Category:Italian male painters]]
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[[Category:Italian Renaissance painters]]
[[Category:Umbrian painters]]
[[Category:Umbrian painters]]
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[[Category:People from Perugia]]
[[Category:Church frescos in Italy]]
[[Category:Church frescos in Italy]]
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[[Category:15th-century Italian painters]]
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[[Category:Italian male painters]]
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[[Category:16th-century Italian painters]]

Latest revision as of 17:33, 22 April 2024

Bernardino Pinturicchio
Self-portrait at the Baglioni Chapel
Born
Bernardino di Betto

1454
Perugia, Papal States
(present-day Italy)
Died1513 (aged 58–59)
Siena, Republic of Siena
(present-day Italy)
NationalityItalian
EducationPietro Perugino
Known forPainting, fresco
MovementItalian Renaissance
The Crucifixion with Sts. Jerome and Christopher, 1471, oil on wood, 59 × 40 cm, Galleria Borghese, Rome
Fresco at Siena Cathedral depicting Pope Pius II

Pinturicchio, or Pintoricchio (US: /ˌpɪntəˈriːkioʊ/,[1] Italian: [pintuˈrikkjo]; born Bernardino di Betto; 1454–1513), also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname (meaning "little painter") because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.[2]

Biography[edit]

Early years[edit]

Bernard of Clairvaux between Louis of Toulouse and Anthony of Padua, Bufalini Chapel, Santa Maria in Aracoeli, Rome

Pinturicchio was born the son of Benedetto or Betto di Biagio, in Perugia. In his career, he may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was a paid assistant of Perugino.

The works of the Perugian Renaissance school are very similar and often paintings by Perugino, Pinturicchio, Lo Spagna, and a young Raphael may be mistaken, one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master's sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories.

His assignment in Rome, to decorate the Sistine Chapel, was an experience fraught with learning from prominent artists of the time, including: Sandro Botticelli, Domenico Ghirlandaio, Pietro Vanucci, and Luca Signorelli. The Sistine Chapel was where it is believed that Pinturicchio was collaborating with Perugino to some extent.[2] Pinturicchio's fresco, Assumption of Mary, executed in 1481 on the alter wall of the Sistine Chapel, was destroyed in 1535 to make way for Michelangelo's Last Judgement.

Work in Santa Maria del Popolo in Rome[edit]

Saint Jerome in the Desert, c. 1475-1480, oil on panel, 149.8 x 106 cm, Walters Art Museum, Baltimore

After assisting Perugino in his frescoes in the Sistine Chapel, Pinturicchio was employed by various members of the Della Rovere family to decorate the Semi-Gods Ceiling of Palazzo dei Penitenzieri as well as a series of chapels in the church of Santa Maria del Popolo, where he appears to have worked from 1484, or earlier, until 1492.

Critic Evelyn March Phillipps sums up his work by saying that the basilica "[w]ould be, if it had been left with all its original decorations, one of the finest monuments to Pintoricchio’s art in Italy. A great deal still remains, but much has been swept away".[3]

The earliest known of his works is an altarpiece of the Adoration of the Shepherds, in the Della Rovere Chapel, the first chapel (from the west) on the south, built by Cardinal Domenico della Rovere. In the lunettes under the vault Pinturicchio painted small scenes from the life of St. Jerome. The polychrome grotesque wall decoration on yellow-gold background probably was inspired by the paintings of the Domus Aurea, and belong the earliest and highest quality of their kind in Rome.

The frescos he painted in the Cybo Chapel, built by Cardinal Lorenzo Cybo de Mari in the beginning of the sixteenth century, were destroyed in 1682, when the chapel was rebuilt by Cardinal Alderano Cybo. The old fresco of the Virgin and the Child by Pinturicchio was detached from the wall and sent by the cardinal to Massa in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa.[4]

The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains a fine altarpiece, Madonna enthroned between Four Saints, and on the eastern side a very nobly composed fresco of the Assumption of the Virgin. The vault and its lunettes are richly decorated with small paintings of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very gracefully and powerfully drawn figures of women in full length, in which the influence of Luca Signorelli may be traced.

In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel, Coronation of the Virgin, and surrounding it, are medallions of the Four Evangelists. The spaces between them are filled by reclining figures of the Four Sibyls. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands that separate these paintings have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below.

Works in the Vatican Library[edit]

In 1492, Pinturicchio was summoned to Orvieto Cathedral. However, he was also commissioned by Pope Alexander VI (Borgia) to decorate a recently completed suite of six rooms, the Borgia Apartments in the Apostolic Palace of the Vatican. These rooms now form part of the Vatican Library, and five still retain a series of Pinturicchio frescoes. He worked in these rooms until around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and others.[2]

Among other important frescoes by Pinturicchio that still exist in Rome and are in good condition, are in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484–1486. On the altar wall is a grand painting of St. Bernardino of Siena between two other saints, crowned by angels; in the upper part is a figure of Christ in a mandorla, surrounded by angel musicians; on the left wall is a large fresco of the miracles performed by the corpse of St. Bernardino, which includes portraits of members of the sponsoring Bufalini family.

One group of three women, the central figure with a child at her breast, recalls the grace of Raphael's second manner. The composition of the main group around the saint's corpse appears to have been suggested by Giotto's painting of St. Francis on his bier that is found in Santa Croce at Florence. On the vault are four noble figures of the Evangelists, usually attributed to Luca Signorelli, but as with the rest of the frescoes in this chapel, they are more probably by Pinturicchio. On the vault of the sacristy of Santa Cecilia in Trastevere, Pinturicchio painted the Almighty surrounded by the Evangelists. During a visit to Orvieto in 1496, Pinturicchio painted in the choir of the Duomo two more figures of the Latin Doctors. For these he received fifty gold ducats. Now, like the rest of his work at Orvieto, these figures are almost destroyed. In Umbria, his masterpiece is the Baglioni Chapel in the church of S. Maria Maggiore in Spello.

Among his panel paintings the following are the most important: an altarpiece for S. Maria de' Fossi at Perugia, painted in 1496–1498, now moved to the city gallery, depicts a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St. Augustine and St. Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino — the Madonna enthroned looks down toward the kneeling donor. In beauty of face and expression, the angels at the sides recall the manner of Lorenzo di Credi or Da Vinci.

The Vatican galleries have the largest of Pinturicchio's panels — the Coronation of the Virgin, with the apostles and other saints below. Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement.

In 1504, Pinturicchio designed a mosaic floor panel for the Cathedral of Siena: the Story of Fortuna, or the Hill of Virtue. This was executed by Paolo Mannucci in 1506. On top of the panel, a symbolic representation of Knowledge hands the palm of victory to Socrates.

Among the public collections holding works by Pinturicchio are, the Ashmolean Museum (University of Oxford), Biblioteca Ambrosiana (Milan), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Denver Art Museum, the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery, London, Palazzo Ruspoli (Rome), the Philadelphia Museum of Art, the Pinacoteca Ambrosiana (Milan), Princeton University Art Museum, Walters Art Museum in Baltimore, the Vatican Museums, and the Museum of Fine Arts (Budapest).

Portrait of a Boy, c. 1500, Gemäldegalerie Alte Meister

Works[edit]

Nativity, at Collegiata di Santa Maria Maggiore, Spello, Italy
Assumption of Mary (1481), Sistine Chapel, drawing of fresco lost when destroyed to make space for Michelangelo's Last Judgement
Enea Silvio Piccolomini presents emperor Frederick III with his bride-to-be, Eleanora of Portugal – Siena Cathedral.

Notes[edit]

  1. ^ "Pinturicchio". Merriam-Webster.com Dictionary. Retrieved 21 June 2019.
  2. ^ a b c "PINTURICCHIO." Benezit Dictionary of Artists. Oxford Art Online. Oxford University Press. Web. 14 February 2017. http://www.oxfordartonline.com/subscriber/article/benezit/B00142364 .
  3. ^ Phillipps, cit., pag. 59.
  4. ^ Federici (2003), cit., pp. 344-45, 350.
  5. ^ http://www.arteweb.eu/MULT_BENI_CULTURALI/PintoricchioA3_press.pdf [bare URL PDF]

Sources[edit]

  •  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Pinturicchio". Encyclopædia Britannica. Vol. 21 (11th ed.). Cambridge University Press.
  • Herbermann, Charles, ed. (1911). "Pinturicchio" . Catholic Encyclopedia. Vol. 12. New York: Robert Appleton Company.
  • Scarpellini, Pietro; Maria Rita Silvestrelli (2004). Pintoricchio. Federico Motta Editore.
  • Fabrizio Federici, La diffusione della “prattica romana”: il cardinale Alderano Cybo e le chiese di Massa (1640-1700), in: Atti e Memorie della Deputazione di Storia Patria per le antiche Provincie Modenesi, s. XI - v. XXV, 2003, pp. 315–389.
  • Evelyn March Phillips, Pintoricchio, George Bell & Sons, London, 1901.

External links[edit]

Wikimedia Commons has media related to Pinturicchio.
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