Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 

 

 
 

CHAPTER THREE
 

THE HIGH RENAISSANCE IN ITALY
 

Leonardo da Vinci
Donato Bramante
Michelangelo
Raphael, Giorgione, Titian
Andrea Sansovino
Giovanni della Robbia
Baldassarre Peruzzi
 
 


Baldassare Peruzzi
 

 


Baldassarre Peruzzi

Baldassarre Peruzzi, (born Jan. 15, 1481, Anciano, Republic of Siena [Italy]—died Jan. 6, 1536, Rome), Sienese architect and painter, one of the earliest artists to attempt illusionist architectural painting (quadratura), the extension of real architecture into imaginary space.

Peruzzi was a contemporary of Raphael and Donato Bramante. He began his career as a painter of frescoes in the Cappella San Giovanni in Siena’s cathedral. His first architectural work was the Villa Farnesina in Rome (1509–21), and he also assisted in the fresco decoration of this palace. On Raphael’s death, in 1520, Peruzzi was appointed one of the architects for St. Peter’s in Rome.

Among the many edifices attributed to Peruzzi, the most significant is probably the Palazzo Massimo alle Colonne (begun 1532) in Rome. To meet the challenge of an unusual site, Peruzzi curved the facade to match the road, organizing the design of the structure for its site rather than according to prevailing principles of central focus and vertical linkages between floors. The atrium was designed with reference to ancient Roman houses, as a reminder of the family’s long Roman heritage. Once a year, on March 16, the palace is open to the public as a commemoration of a miracle performed on that date in 1583 by the priest who became Saint Philip Neri.


Encyclopaedia Britannica

 

 

 



Baldassare Peruzzi. Villa Farnesina, Rome
 


View of the garden side
1505-11
Villa Farnesina, Rome

 


Villa Farnesina, Rome
 

 


Perspective view of the Sala delle Prospettive
1515-17
Frescoes
Villa Farnesina, Rome

 


View of the Loggia di Galatea
1510-11
Fresco
Villa Farnesina, Rome

 


Perseus and Pegasus
1510-11
Fresco
Villa Farnesina, Rome

 


Baldassare Peruzzi. Palazzo Massimo alle Colonne
 


Palazzo Massimo alle Colonne
1532-36
Rome
 

 


Courtyard, Palazzo Massimi alle Colonne
1532-36
Rome

 

 


Baldassare Peruzzi. Tomb of Pope Hadrian VI
1524-29
Marble
Santa Maria dell'Anima, Rome

 


Baldassare Peruzzi. Apollo and the Muses
1514-23
Oil on wood, 35 x 78 cm
Galleria Palatina (Palazzo Pitti), Florence

 
 

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