Andrea Vicentino

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Andrea Vicentino , baptized Andrea Michieli (* around 1542 in Vicenza , † May 15, 1618 in Venice ), was a painter of the Republic of Venice . He himself often signed with “Andrea Vicentinus f.”, Which helped establish his name of origin.

life and work

He was born to Angelina and Vincenzo Michieli. Little is known about his childhood and youth, just as little is known about his training as a painter. But his style was at least influenced by Giovanni Battista Maganza il Vecchio, Giovanni Antonio Fasolo or Battista Zelotti. From 1572 at the latest he lived in Venice. That year he married Elena Bellotti, with whom he lived in the municipality of San Barnaba in the San Polo sestiere . He had at least four children with her. These were Paolo Emilio (* 1574), Marietta (* 1580), Isabella Chiaretta (* 1581), whose godfather was the sculptor Girolamo Campagnola , and Marco Antonio (* 1583), who was created by the miniaturist Camillo Boninsegna . In the 1590s, another woman, Santa, gave him four more children. These were Elena Virgilia (* 1591, baptized by Antonio Callegarini), Gabriele Giovanni (* 1594), Giannantonio Angelo (1596–1598) and another boy who received the name of the deceased child (* 1599).

It was not until 1583 that Michieli became a member of the Venetian painters' guild, the arte dei pittori , of which he was a member until 1617. But already in the decade before joining, he was working for Ludovico Priuli, the son of Doge Girolamo Priuli and lifelong Procuratore de ultra . With a certified act on February 15, 1572, he settled a dispute between the Priulis heirs, in which it was about works completed by him in the Paduan palace of the testator, who had died in September of the previous year. At that time the palace, begun in 1568, was still under construction. The archive files document the loss of the “accordo con Andrea da Vicenza Pictore”, which had already completed numerous works. He received 25 lire for this, but asked for another four ducats for a “Cristo alla colonna” and another three works. It turned out that the total billing did not include other works that appear in the inventory of October 7, 1571, a work on the Old Testament and two pictures of St. Catherine and St. Justina .

His reputation was now so great that he was commissioned, the first painting on the west wall of the Sala dello Scrutinio in the Doge's Palace to replace, who was also taken away by the fire of 20 December 1577 as the adjacent Hall of the Great Council , to which he also worked with. This restoration work took place in a phase of redefining the role of Venice and its historical role and thus its entire historiography . This not only entailed an ideological realignment, but also a change in state propaganda, which was particularly reflected in the works of art in the Doge's Palace, the center of power. Michieli created the two works I Veneziani respingono l'assedio di Pipino and the Vittoria navale dei Veneziani contro Pipino on the west wall of the Sala dello Scrutinio , then on the east side the Presa di Cattaro (the capture of Kotor) and the Vittoria di Lepanto (the Victory in the Battle of Lepanto ). For the ceiling he created the Vittoria a Rodi (the victory before Rhodes). The panorama of historical memories thus extended from the early 9th century to Vicentino's present, from the struggle against the invasion of the Franks under Pippin , the son of Charlemagne , to the conquest of Dalmatia and the victory over the Ottomans at Lepanto in 1571.

The Battle of Lepanto, oil on canvas, Grand Council Hall, Doge's Palace

In the hall of the Grand Council, Andrea Vicentino created La consegna dell'anello al doge Sebastiano Ziani (the handover of the ring to Doge Sebastiano Ziani on the north wall, an allusion to the annual Festa della Sensa as a symbol of Venice's power over the Adriatic), La riconquista di Zara (the alleged reconquest of Zara, which in the eyes of the Venetians had rebelled several times), Il principe Alessio Comneno supplica l'aiuto del doge Enrico Dandolo (Prince Alexios Komnenos , who had been overthrown by his uncle, asks the Doge Enrico Dandolo for help, which should legitimize the attack on Constantinople by crusaders), Enrico Dandolo accoglie Baldovino di Fiandra eletto imperatore d'Oriente (Enrico Dandolo receives Baldwin of Flanders , one of the leaders of the Fourth Crusade , who had been elected Emperor of the East , of the Latin Empire (south wall)), Il doge Leonardo Loredan consegna agli ambasciatori di Norimberga i testi delle leggi venezi ane (the Doge Leonardo Loredan hands over the texts of the Venetian laws to the ambassadors from Nuremberg ) and trophies (ceiling of the hall). These works were completed by 1600 at the latest. In addition, there were smaller works, such as some panels on the ceiling of the Sala del Senato , namely a Roman warrior duo, then some philosophers and above all the allegorical Venus in the forge of Vulcanus , which were created until the mid-1580s.

While working at the Doge's Palace, he also created works in Vicenza. Between 1580 and 1583, for example, he decorated the Salone dei Cesari in the piano nobile of the Palladian palace of Montano Barbaran, as a note by the architect Inigo Jones from 1614 shows. In addition, he created a large number of altarpieces , which can be found almost in the entire Adriatic and northern Italian area of ​​the republic, down to Dalmatia. Together with Palma il Giovane , Domenico Tintoretto , Carlo Caliari and Antonio Vassillacchi, known as Aliense , he worked on furnishing the church of S. Croce in Belluno , and for the Scuola della dottrina cristiana , which was founded there by Bishop Giovanni Battista Valier in 1580 was. Vicentino's contribution consisted of the Deposizione dalla croce , the Descent of the Cross, which was later located in the Venetian Scuola Grande di S. Giovanni Evangelista , now in the depot of the Gallerie dell'Accademia .

Doge and Patriarch receive Henry III, King of France
The exit of the Dogaressa Morosina Morosini from San Marco, Andrea Vicentino (approx. 1542–1618)

In 1593 he signed the huge work Visione miracolosa di Baldissera Zanon e suo processo (Carlo Baldissera Zanon from Chioggia had a vision of Mary in 1508), in the same year he created the Sbarco di Enrico III al Lido , the crossing of the French King Henry III. zum Lido, a work for the Sala delle Quattro porte in the Doge's Palace. There are also La processione del Santissimo Sacramento in the Oratory of Paradise of the Cathedral in Piove di Sacco (today in the Diocesan Museum of Padua ) and the Sbarco trionfale della dogaressa Morosini in piazza S. Marco , the triumphant exit of the Dogaressa Morosina Morosini in Piazza San Marco . This painting could be identified with the work in the Palazzo Grimani near S. Luca on the Grand Canal . The work was built between 1597, when the Dogaressa left, and 1606, when the Bucintoro was completely rebuilt. Vicentino had immortalized the irretrievable appearance of this ship of state.

The Nozze di Cana , which reproduces the wedding at Canaa in the performances of the late 16th century, goes back possibly to 1594 . Created for the Ognissanti church, the work is now in San Trovaso . In 1598 he signed the altar retable of the Duomo di Gambarare in Venice with the Padre Eterno e le Virtù teologali , then Il serpente di bronzo e il Crocifisso in the Franciscan Church ( Frari Church ), where a number of smaller works were also created (today some can be found in the Walker Art Gallery in Liverpool or in London). In 1606 he signed a work in Zanipolo , namely the Sogno del doge Jacopo Tiepolo (the dream of Doge Iacopo Tiepolo ) and Il doge dona il terreno ove sorgerà la basilica (the Doge hands over the area where the basilica will rise). An inventory shows that he created the Trasporto dell'arca santa in Chioggia , on the ceiling of the oratory of the church Ss. Trinità. This inventory also shows that he created the Battesimo di Cristo , the baptism of Christ, in 1608 , then David davanti a Natan in 1608; 1610 followed by David uccide Golia ( David kills Goliath ) and the Entrata di Cristo in Gerusalemme , the entry of Christ into Jerusalem (1610), finally in 1611 La regina di Saba davanti a Salomone , the queen of Sheba before Solomon , and the passaggio del Mar Rosso , the crossing of the Red Sea , in 1611. In 1612, S. Liberale vescovo benedice gli infermi followed for the Carmini Church in Venice. The last known work by Vicentino is the Madonna con s. Carlo e ss. cappuccini for the Capuchin Church in Mestre , depicting the Madonna with Charles Borromeo and the Capuchins Saints.

In 1613 the wedding of his daughter Elena was celebrated with great festivities, but in 1615 his son Marco Antonio, from whom the Caduta della manna has been preserved in the presbytery of the Carmini Church, died. On May 15, 1618 Vicentino's name was entered in the Necrologium of the Church of San Barnaba

swell

  • Girolamo Bardi : Dichiaratione di tutte le istorie che si contengono ne i quadri posti nuovamente nelle sale dello Scrutinio, et del Gran Consiglio… , Felice Valgrisio, Venice 1587. ( digitized version )
  • Carlo Ridolfi : Le maraviglie dell'arte. Ovvero le vite degli illustri pittori veneti e dello Stato (1648) , edited by D. von Hadeln, Berlin 1924, Vol. II, pp. 147-149. ( Digitized version )

literature

  • Giorgio Tagliaferro:  Michieli, Andrea. In: Mario Caravale (ed.): Dizionario Biografico degli Italiani (DBI). Volume 74:  Messi – Miraglia. Istituto della Enciclopedia Italiana, Rome 2010, (forms the basis of the presentation part).
  • Paolo Goi: Di alcuni pittori veneti attivi in ​​Friuli. Tizianello, Tommaso Vecellio, Andrea Vicentino, Girolamo Turro, Andrea Urbani , in: Bollettino della Biblioteca e dei Musei civici e delle Biennali d'arte antica 9 (1972) 61-74.
  • Umberto Franzoi: Storia e leggenda del palazzo ducale di Venezia , Venice 1982, pp. 9-12, 74, 138-140, 234-237, 253, 256 f., 259, 323, 332-334, 345-347, 350 -352.
  • Ettore Merkel: Le portelle di Andrea Vicentino per l 'antico organo di S. Zulian. Un recupero avventuroso , in Arte veneta 46 (1994) 104 f.
  • Paolo Battistella: Note biografiche di Andrea Michieli detto Vicentino , in: Venezia arti 9 (1995) 145 f.
  • Vincenzo Mancini: Per la giovinezza di Andrea Michieli detto il Vicentino. Il pittore di "Cha Priuli" , in Atti dell ' Istituto Veneto di Scienze, Lettere ed Arti , classe di scienze morali, lettere ed arti, 158 (1999-2000) 305-328.

Web links

Commons : Andrea Vicentino  - Collection of images, videos and audio files

Remarks

  1. ↑ Margareth Binotto: Il salone dei Cesari , in: M. Elisa Avagnina (ed.): Guida a palazzo Barbaran Da Porto , Vicenza 2000, pp. 49-59.
  2. ↑ Pier Luigi Fantelli: L'ingresso di Enrico III a Venezia di Andrea Vicentino in: Quaderni della Soprintendenza ai beni artistici e storici di Venezia 8 (1979) 95-99, said: Evelyn Korsch : Images of Power. Venetian strategies of representation during the state visit of Henry III. (1574) , Walter de Gruyter, 2013 (Diss. The Image of Venice to Lepanto - The Entry of Henry III as a Nonverbal Communication System, 2009), especially pp. 138–148.
  3. ↑ Elena Bassi: Una pala di Andrea Vicentino a Gambarare , in: Arte veneta 4 (1950) 148-150.
  4. ↑ Eugenio Manzato: Il soffitto dell'Oratorio della Ss. Trinità di Chioggia , in Arte veneta 26 (1972) 111-120.
personal data
SURNAME Vicentino, Andrea
ALTERNATIVE NAMES Michieli, Andrea
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH around 1542
PLACE OF BIRTH Vicenza
DATE OF DEATH May 15, 1618
Place of death Venice