Iacopo Negretti know as Palma il Giovane
Oil on canvas
In the 16th century this painting was owned by the Cervini Family, Counts of Siena and later purchased by the Bellanti Family, Counts of Siena.
(Venice, 1544 - Venice, 1628)
Jacopo Negretti, best known as Jacopo Palma il Giovane or simply Palma Giovane (“Young Palma”) was an Italian Mannerist painter from Venice. After the death of Tintoretto in 1594, Palma became Venice’s dominant artist, perpetuating his style.
Outside Venice, he received numerous commissions in the area of Bergamo, then part of the Venetian terraferma dominions, and in central Europe, most prominently from the connoisseur Habsburg Emperor Rudolph II in Prague.
Palma was born in Venice into a family of painters, being the great-nephew of the painter Palma Vecchio (“Old Palma”) and the son of Antonio Nigretti (1510/15-1575/85), a minor painter who was himself the pupil of the elder Palma’s workshop manager Bonifazio de’ Pitati and who inherited his shop and clientele after the latter’s death in 1553.
The younger Palma seems to have polished his style making copies after Titian.
In 1567 Guidobaldo II della Rovere, duke of Urbino, recognized Palma’s talents, supporting him for four years and sending him to Rome, where he remained until about 1572.
Shedding most remnants of the Roman style after his return to Venice, Palma inevitably adopted the models and mannerisms of Tintoretto.
His early biographers assert that he found a place in the ageing Titian’s workshop ; when the master died, Palma stepped in to finish his last work, the Pietà in the Accademia, Venice. Palma’s first major public commission, three scenes in the Sala del Maggior Consiglio of the Doge’s Palace, came after a fire there in 1577.
By the mid-1580s he had absorbed Tintoretto’s versatile figure postures and Titian’s rich surfaces, with an emphasis on light and loose brushstrokes. Sydney Freedberg detected “an occasional discursive opulence à la Veronese ; and inclinations towards descriptive naturalism à la Bassano” in Palma’s oeuvre. By the 1580s, he varied the ingenious combination of subject matter and his patrons’ own eclectic, conservative tastes with “virtuoso skill and a facile intelligence”.
Palma worked alongside Veronese and Tintoretto on the decorations in the Doge’s Palace, where he became fully aware of the grand Venetian tradition.
From 1580 to 1590 he painted cycles of large canvases for both Venetian confraternities and sacred buildings (the sacristies of San Giacomo dall’Orio and the Gesuiti, the Scuola di San Giovanni Evangelista, and the Ospedaletto dei Crociferi).
Thanks to the intelligent way they quoted from Tintoretto and their own narrative drive, these are Palma the Younger’s finest works.
After this he went back to official commissions at the Doge’s Palace.
He organized his own sizeable studio, producing series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic.
After 1600 he painted mythological subjects for a small circle of intellectuals. On his death in 1628 he was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.
This product was added to our catalog on Tuesday 11 December, 2018.