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Here are all the paintings of BECCAFUMI, Domenico 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 4990 |
 |
Birth of the Virgin dfgf |
c. 1543
Oil on wood, 233 x 145 cm
Accademia, Siena |
| 4997 |
 |
Fall of the Rebellious Angels gjh |
1540s
Oil on wood, 347 x 227 cm
Pinacoteca Nazionale, Siena |
| 4998 |
 |
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 |
| 4995 |
 |
Moses and the Golden Calf fgg |
1536-37
Oil on wood, 197 x 139 cm
Duomo, Pisa |
| 4993 |
 |
St Lucy fgg |
1521
Oil on wood
Pinacoteca Nazionale, Siena |
| 4991 |
 |
Stigmatization of St Catherine of Siena |
c. 1515
Oil on wood, 208 x 156 cm
Pinacoteca Nazionale, Siena |
| 4992 |
 |
Tanaquil gffn |
1519
Oil on wood, 92 x 53 cm
National Gallery, London |
| 4996 |
 |
The Annunciation jhn |
c. 1545
Oil on wood
SS. Martino and Vittorio, Sarteano (Siena) |
| 4994 |
 |
The Holy Family with Young Saint John dfg |
around 1530
Oil on panel, diameter 84 cm
Galleria degli Uffizi, Florence |
| 4989 |
 |
Trinity (detail) df |
1513
Oil on wood
Pinacoteca Nazionale, Siena |
| 4988 |
 |
Trinity fgj |
1513
Oil on wood, 152 x 228 cm
Pinacoteca Nazionale, Siena |
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| BECCAFUMI, Domenico
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| 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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