Palma Vecchio, born Jacopo d’Antonio Negretti, was an Italian High Renaissance painter of the Venetian school. He is also known as Palma Vecchio or Palma, the Elder, to distinguish him from his great-nephew Palma il Giovane or Palma the Younger, who also became an artist.
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Jacopo d'Antonio Negretti (see Palma Vecchio)
Palma Vecchio, born Jacopo d’Antonio Negretti, was an Italian High Renaissance painter of the Venetian school. He is also known as Palma Vecchio or Palma, the Elder, to distinguish him from his great-nephew Palma il Giovane or Palma the Younger, who also became an artist.
Jacopo d’Antonio Negretti was born circa 1480, in the city of Bergamo, Republic of Venice, in today’s northeastern Italy.
Palma’s earliest recorded activity was in 1510, in Venice, although scholars suggest that he would’ve been living there for a period. He was possibly apprenticed by Renaissance painter Andrea Previtali, who was also from Bergamo. Palma’s earlier production resembles the artworks of Giovanni Bellini, who was Previtali’s teacher. However, Palma would develop his paintings following the new subjects and style pioneered by Titian and Giorgione.
Following the death of Giorgione and Bellini, as well as the withdrawal of Lorenzo Lotto, Sebastiano del Piombo, and Previtalli, Palma finally found himself as the second leading painter in Venice, only after Titian.
The artist explored new pastoral mythology subjects, as well as half-length portraits, often depicting idealized beauties who were most probably famous Venetian courtesans. Palma also created paintings in a genre developed during the Renaissance called santa conversazione, which represented the Virgin and Christ amongst other saints in a more informal grouping, not so hierarchical.
Palma not only drew influence from artists active in Venice but from other regions of Italy as well. The artist’s mature work shows a High Renaissance style enriched by a vivid color palette, masterfully executed contrapposto, and a wide array of idealized human figures.
Palma’s first commission to paint the main altar of a Venetian church would only arrive in 1525, at the Gothic church of Sant’Elena.
The artist was consistently in high demand until his early death on June 30, 1528, at the age of 48. Scholars would argue if Palma’s style from before his death would continue to develop or was starting to lose energy and momentum. Some art historians say that Palma’s career was oscillating between central and northern Italian trends, including Mannerism.
Recently, Palma Vecchio’s relevance would only grow, as several artworks that were once attributed to Titian and Giorgione are now attributed to him.
His great-nephew was also named Jacopo Negretti and became an artist as well, he was later known as Palma il Giovane, or Palma the Younger.
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