Bonifazio Veronese

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Bonifazio de 'Pitati: Madonna with Child and Saints , approx. 1525–30, Ca' Rezzonico , Venice

Bonifazio de 'Pitati , called Bonifazio Veronese (also: Bonifazio Veneziano ; first name also: Bonifacio ; * approx. 1487 in Verona , † October 19, 1553 in Venice ) was an Italian painter of the Venetian school .

life and work

Portrait of a Young Man , 1510s, State Hermitage Museum , St. Petersburg

Bonifazio was the son of Marzio de 'Pitati (son of a Bonifacio) and his wife Benvenuta; the mother's family name is not known. The father was a "man of arms" ( armigero ), so probably a soldier. The family lived in Verona until at least 1502. From then until 1528 there are no documents about Bonifazio, so that his education is not clear. The time of his move to Venice is also not really known, even if Gustav Ludwig put it at 1505 - the document used as a source, however, cannot clearly be related to Bonifazio de 'Pitati. Based on stylistic considerations, it is assumed that he was in Venice between 1510 and 1515, according to Carlo Ridolfi (1648) probably as a pupil of Palma il Vecchio . After his death on July 28, 1528, Bonifazio completed some unfinished works of Palma, including a Madonna and Child and St. Catherine, Francis and Nicholas for Francesco Querini (today: Pinacoteca Querini Stampalia , Venice) for which he was paid in April 1529 .

Around the same time he received the commission for a picture of the Archangel Michael ( Pala di San Michele ) for the family chapel of Sigismondo Cavalli in the church of Santi Giovanni e Paolo .

1530 he became a master in the guild ( fraglia added the Venetian painter) and the following year he was elected along with Titian and Lorenzo Lotto in a commission on the distribution of funds from the testament of Vincenzo Catena given to charity. In this case too, Bonifazio was entrusted with the completion of Catena's unfinished pictures.

Bonifazio de 'Pitati: God the Father over the Piazza San Marco , middle part of a triptych with the Annunciation for the Palazzo dei Camerlenghi (today Accademia , Venice)

Bonifazio ran a large workshop in Venice, which, among other things, was largely responsible for decorating the Palazzo dei Camerlenghi , the financial administration of Venice. In accordance with the Venetian tradition, the paintings there were commissioned by incumbents, which Bonifazio often immortalized in crypto portraits in his biblical scenes. In addition to their function as memory pictures, these paintings also articulated state virtues. Bonifazio and his workshop worked for the Palazzo dei Camerlenghi for decades. Between 1529 and 1533 alone, fourteen pictures were created for this, including the three large-format paintings Adoration of the Magi , Christ Enthroned with Saints (1529–30) and the Judgment of Solomon (dated 1533; today: Accademia , Venice). Later the murder of the innocent followed and Christ expelled the merchants from the temple (both 1536), and in 1539 the miraculous multiplication of the bread and the Manna miracle (all in the Accademia, Venice).

Bonifazio had particular success with devotional or altar paintings from the theme of the Madonna with Child and Saints (so-called " Sacra Conversazione "), of which he created numerous variants, as well as on the related subjects Adoration of the Shepherds and Adoration of the Magi . Corresponding paintings can now be found in museums around the world, including the Louvre , the Prado and the National Gallery in London .

One of his very few dated works is the Madonna and Child, completed on November 9, 1533, and St. Omobono and Barbara for the Scuola dei Sartori (Brotherhood of Tailors ). This painting is also known as the Madonna of the Tailors and is now in the Accademia in Venice. He received other official commissions from the Venetian church of Santa Maria dei Servi and the Carthusian monastery of Sant'Andrea di Lido.

The rich Epulone (= parable of poor Lazarus ), around 1540, Accademia, Venice

At an unknown time, Bonifazio married the young Marietta Brunello (widowed De 'Grassi).

In his late phase from around 1535 he devoted himself to several so-called quadri di portego , including the parable of Lazarus and the rich man (Accademia, Venice) and a cycle with the Trionfi of Petrarch , including the two images Triumph of Love and Triumph of Chastity in Kunsthistorisches Museum in Vienna .

Bonifazio de 'Pitati, called Veronese, died "after a long illness" on October 19, 1553. He had no children. His legitimate heir was his student and collaborator Antonio Palma , who was married to Giulia, a niece of Bonifazio's wife.

His students probably included Jacopo Bassano , Andrea Schiavone and Jacopo Robusti , called Tintoretto.

Appreciation

Bonifazio Veronese stood on the threshold of painting from the Italian High Renaissance to Mannerism . His works are shaped by the painting of the lagoon city, especially by Palma il Vecchio and Tizian , but also by the older Venetian masters Giovanni Bellini and Giorgione . However, not only its scenic views and backgrounds are occasionally reminiscent of Northern European models. He particularly liked the portrayal of sensitive, lyrical and lovely, soft moods in his Madonnas. The quiet greatness of his saints (in the "Sacra Conversazione") is influenced by the expressive models of Giorgione.

Picture gallery

  • Adoration of the Shepherds , 1523–25, Hermitage , St. Petersburg

  • The Madonna of the Tailors , 1533, Accademia , Venice

  • Christ and the Adulteress , National Museum , Warsaw

  • Holy Family with Johannes d. Baptist and St. Catherine, Francis and Jerome , around 1525, Nivagaard Museum, Nivå (Denmark)

  • Christ among the scribes , 1544–45 Palazzo Pitti , Florence

  • The Finding of Moses , 1545, Pinacoteca di Brera , Milan

Works (selection)

literature

Lexicon article

  • Bonifazio Veronese (also Bonifazio Veneziano, eigtl. Bonifazio de 'Pitati) , in: Lexikon der Kunst , Vol. 2, Karl Müller Verlag, Erlangen, 1994, p. 240
  • Francesco Trentini: Pitati (de 'Pitati), Bonifacio, detto Bonifacio Veronese , in: Dizionario Biografico degli Italiani , Volume 84, 2015, online at "Treccani" (Italian; main source of this article; viewed on March 28, 2020)

further reading

  • Philip Cottrell: Bonifacio Veronese and the young Tintoretto . In: Inverno , Vol. 4 (1997), pp. 17-36.
  • Philip Cottrell: Corporate Colors. Bonifacio and Tintoretto at the Palazzo dei Camerlenghi in Venice . In: The Art Bulletin , Vol. 82 (2000), pp. 658-678 doi : 10.2307 / 3051416 .
  • Theodor von Frimmel : A confusion of Bonifazio Veneziano with Titian . In: Repertorium für Kunstwissenschaft , Vol. 7 (1884), pp. 1–15, ISSN  0259-7063
  • Decio Gioseffi: Per una datazione tardissima delle storie di Tobiolo in S. Raffaele di Venezia con una postilla su Bonifacio Veronese . In: Emporium , Vol. 126 (1957), pp. 99-114.
  • Todd A. Herman: Out of the shadow of Titian. Bonifacio de'Pitati and 16th century Venetian painting . UMI, Ann Arbor 2003 (also dissertation, Case Western Reserve University, Cleveland 2003).
  • Nicolai Kölmel: The Queen in the Pawnshop. Shaping Civic Virtues in a Painting for the Palazzo dei Camerlenghi in Venice . In: Susanna Burghartz u. a. (Ed.): Sites of Mediation. Connected Histories of Places, Processes, and Objects in Europe and Beyond, 1450-1650 . Brill, Leiden 2016, doi : 10.1163 / 9789004325760_006 .
  • David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457
  • Gerhard Rüger: On the restoration of a painting by Bonifazio Veronese . In: Yearbook of the Staatliche Kunstsammlungen Dresden , Jg. 1968/69, pp. 133-138, ISSN  0419-733X
  • Helga Wäß: Bonifazio de'Pitati, called Veronese . In: Diess .: The robbery of the Sabine women of the Gradenigo family. Latest research on Tintoretto's early work; a tribute to the founding fathers of Venice in an unknown Venetian painting from the period after 1539 . Schnell & Steiner, Regensburg 2000, ISBN 3-7954-1338-9 , pp. 8 ff. And 56 ff.
  • Paul Wescher: Bonifazio di Pitati, called Veronese (1491–1553) In: Bulletin of the Art Division , Vol. 4 (1952), No. 2/3, p. 9.
  • Dorothee Westphal : Bonifazio Veronese, Bonifazio dei Pitati . Bruckmann, Munich 1931.

Web links

Commons : Bonifacio de 'Pitati  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o p Francesco Trentini: Pitati (de 'Pitati), Bonifacio, detto Bonifacio Veronese , in: Dizionario Biografico degli Italiani , Volume 84, 2015, online at "Treccani" (Italian; seen March 28, 2020)
  2. ^ David Rosand: The Venetian Painting in the 16th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 1, Könemann, Cologne, 1997, pp. 394–457, here: 410
  3. ^ Cottrell, Philip: Corporate Colors. Bonifacio and Tintoretto at the Palazzo dei Camerlenghi in Venice. In: The Art Bulletin 82 . tape 84 , no. 4 , 2000, pp. 658-678 .
  4. ^ Nicolai Kölmel: 4 The Queen in the Pawnshop: Shaping Civic Virtues in a Painting for the Palazzo dei Camerlenghi in Venice . S. 94-124 , doi : 10.1163 / 9789004325760_006 ( brillonline.com [accessed September 7, 2017]).
personal data
SURNAME Veronese, Bonifazio
ALTERNATIVE NAMES Pitati, Bonifazio de '; Veneziano, Bonifazio
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH around 1487
PLACE OF BIRTH Verona
DATE OF DEATH October 19, 1553
Place of death Venice