DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0119
NORTH ITALIAN
The greatest painters of Northern Italy were Altichiero
Altichieri (133O?-I395), Pisanello (1397-1455), Domenico
Morone (1442-1503), Liberate (1451-1536), Girolamo dai
Libri (1474-1503), and Paolo Veronese (1528-1588), in
Verona; Andrea Mantegna (1431-1506), in Padua; and Cosimo Tura
(i42o?-i495), in Ferrara; Vincenzo Foppa (i427?-i5i5-i6), Bramante
da Milano (died about 1470), Bartolommeo Suardi, called Braman-
tino (i45o?-i536), and Bernardino Luini (1475?-!531-2), in Milan;
Lorenzo Costa (i46o?-i535), and Francesco Francia (i45o?-i5i7),
in Bologna; Moretto da Brescia (1498-1554), and Giambattista Mo-
roni (1520-5-1578), in Brescia; and Antonio Allegri, better known as
Correggio (1494-1534), in Palma.
The towns of Northern Italy were more or less influenced by Floren-
tine artists who worked in various towns and who naturally attracted
pupils and local assistants. Painters travelled too, a great deal, wish-
ing, as they do now, to see the famous works of painters both living and
dead and of learning the newest and latest technique. Lords and dukes
also attracted celebrated painters to their courts; and, if they liked
them, bestowed lavish orders for portraits, for their relatives and
friends; small devotional pictures for their own cabinets; wall-paint-
ings for their villas; and altar-pieces and frescoes for their local
churches or cathedrals.
Lodovico Sforza, Duke of Milan, sent to Lorenzo de’ Medici on two
or three occasions to recommend painters from Florence for work that
he wished to have done. The great intellectual and artistic activity
of Lombardy at the end of the Fifteenth Century was largely owing
to Lodovico Sforza, whose Court was one of the most brilliant of the
day. “Here,” an enthusiastic contemporary exclaimed, “here the
muses of poetry and the masters of sculpture reigned supreme; here
came the most distinguished painters from distant regions; here, night
93
The greatest painters of Northern Italy were Altichiero
Altichieri (133O?-I395), Pisanello (1397-1455), Domenico
Morone (1442-1503), Liberate (1451-1536), Girolamo dai
Libri (1474-1503), and Paolo Veronese (1528-1588), in
Verona; Andrea Mantegna (1431-1506), in Padua; and Cosimo Tura
(i42o?-i495), in Ferrara; Vincenzo Foppa (i427?-i5i5-i6), Bramante
da Milano (died about 1470), Bartolommeo Suardi, called Braman-
tino (i45o?-i536), and Bernardino Luini (1475?-!531-2), in Milan;
Lorenzo Costa (i46o?-i535), and Francesco Francia (i45o?-i5i7),
in Bologna; Moretto da Brescia (1498-1554), and Giambattista Mo-
roni (1520-5-1578), in Brescia; and Antonio Allegri, better known as
Correggio (1494-1534), in Palma.
The towns of Northern Italy were more or less influenced by Floren-
tine artists who worked in various towns and who naturally attracted
pupils and local assistants. Painters travelled too, a great deal, wish-
ing, as they do now, to see the famous works of painters both living and
dead and of learning the newest and latest technique. Lords and dukes
also attracted celebrated painters to their courts; and, if they liked
them, bestowed lavish orders for portraits, for their relatives and
friends; small devotional pictures for their own cabinets; wall-paint-
ings for their villas; and altar-pieces and frescoes for their local
churches or cathedrals.
Lodovico Sforza, Duke of Milan, sent to Lorenzo de’ Medici on two
or three occasions to recommend painters from Florence for work that
he wished to have done. The great intellectual and artistic activity
of Lombardy at the end of the Fifteenth Century was largely owing
to Lodovico Sforza, whose Court was one of the most brilliant of the
day. “Here,” an enthusiastic contemporary exclaimed, “here the
muses of poetry and the masters of sculpture reigned supreme; here
came the most distinguished painters from distant regions; here, night
93