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BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.

 

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BECCAFUMI, Domenico Trinity fgj oil painting

Painting ID::  4988

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BECCAFUMI, Domenico
Trinity fgj
1513 Oil on wood, 152 x 228 cm Pinacoteca Nazionale, Siena
   
   
     

 

 

BECCAFUMI, Domenico Trinity (detail) df oil painting

Painting ID::  4989

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BECCAFUMI, Domenico
Trinity (detail) df
1513 Oil on wood Pinacoteca Nazionale, Siena
   
   
     

 

 

BECCAFUMI, Domenico Birth of the Virgin dfgf oil painting

Painting ID::  4990

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BECCAFUMI, Domenico
Birth of the Virgin dfgf
c. 1543 Oil on wood, 233 x 145 cm Accademia, Siena
   
   
     

 

 

BECCAFUMI, Domenico Stigmatization of St Catherine of Siena oil painting

Painting ID::  4991

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BECCAFUMI, Domenico
Stigmatization of St Catherine of Siena
c. 1515 Oil on wood, 208 x 156 cm Pinacoteca Nazionale, Siena
   
   
     

 

 

BECCAFUMI, Domenico Tanaquil  gffn oil painting

Painting ID::  4992

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BECCAFUMI, Domenico
Tanaquil gffn
1519 Oil on wood, 92 x 53 cm National Gallery, London
   
   
     

 

 

BECCAFUMI, Domenico St Lucy fgg oil painting

Painting ID::  4993

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BECCAFUMI, Domenico
St Lucy fgg
1521 Oil on wood Pinacoteca Nazionale, Siena
   
   
     

 

 

BECCAFUMI, Domenico The Holy Family with Young Saint John dfg oil painting

Painting ID::  4994

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BECCAFUMI, Domenico
The Holy Family with Young Saint John dfg
around 1530 Oil on panel, diameter 84 cm Galleria degli Uffizi, Florence
   
   
     

 

 

BECCAFUMI, Domenico Moses and the Golden Calf fgg oil painting

Painting ID::  4995

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BECCAFUMI, Domenico
Moses and the Golden Calf fgg
1536-37 Oil on wood, 197 x 139 cm Duomo, Pisa
   
   
     

 

 

BECCAFUMI, Domenico The Annunciation  jhn oil painting

Painting ID::  4996

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BECCAFUMI, Domenico
The Annunciation jhn
c. 1545 Oil on wood SS. Martino and Vittorio, Sarteano (Siena)
   
   
     

 

 

BECCAFUMI, Domenico Fall of the Rebellious Angels gjh oil painting

Painting ID::  4997

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BECCAFUMI, Domenico
Fall of the Rebellious Angels gjh
1540s Oil on wood, 347 x 227 cm Pinacoteca Nazionale, Siena
   
   
     

 

 

BECCAFUMI, Domenico Madonna with the Infant Christ and St John the Baptist  gfgf oil painting

Painting ID::  4998

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BECCAFUMI, Domenico
Madonna with the Infant Christ and St John the Baptist gfgf
c. 1540 Oil on panel, 90 x 65 cm Galleria Nazionale d'Arte Antica, Rome
   
   
     

 

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BECCAFUMI, Domenico
Italian Mannerist Painter, ca.1486-1551 Domenico was born in Montaperti, near Siena, the son of Giacomo di Pace, a peasant who worked on the estate of Lorenzo Beccafumi. Seeing his talent for drawing, Lorenzo adopted him, and commended him to learn painting from Mechero, a lesser Sienese artist.[1] In 1509 he traveled to Rome, but soon returned to Siena, and while the Roman forays of two Sienese artists of roughly his generation (Il Sodoma and Peruzzi) had imbued them with elements of the Umbrian-Florentine Classical style, Beccafumi's style remains, in striking ways, provincial. In Siena, he painted religious pieces for churches and of mythological decorations for private patrons, only mildly influenced by the gestured Mannerist trends dominating the neighboring Florentine school. There are medieval eccentricities, sometimes phantasmagoric, superfluous emotional detail and a misty non-linear, often jagged quality to his drawings, with primal tonality to his coloration that separates him from the classic Roman masters.