Moretto da Brescia. Alessandro Bonvicino, more commonly known as Moretto, or in Italian Il Moretto da Brescia, was an Italian Renaissance painter from Brescia, where he also mostly worked.
His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona and Asola; many remain in the churches they were painted for.
Most are on canvas, but a number even of large ones are on wood panel. Only a handful of drawings survive.
He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full-length, all the more unexpected as the sitter, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family.
This format, and the background of an exterior largely closed off by a column the man leans on, was taken up by his main assistant Giovanni Battista Moroni, who mainly painted portraits, and was one of the most important portraitists of the mid-16th century. He was a prominent and pious citizen of the small city of Brescia, belonging to at least two of the most prominent confraternities. He was born at Rovato, in Brescian territory, and studied first under Fioravante Fe
His dated works span the period from 1524 to 1554, but he was already described as a master in 1516. He was mainly a painter of altarpieces that tend towards sedateness, mostly for churches in and around Brescia, but also in Bergamo, Milan, Verona and Asola; many remain in the churches they were painted for.
Most are on canvas, but a number even of large ones are on wood panel. Only a handful of drawings survive.
He also painted a few portraits, but these are more influential. A full-length Portrait of a Man in the National Gallery, London, dated 1526, seems to be the earliest Italian independent portrait at full-length, all the more unexpected as the sitter, though clearly a wealthy nobleman, shows no sign of being from a princely ruling family.
This format, and the background of an exterior largely closed off by a column the man leans on, was taken up by his main assistant Giovanni Battista Moroni, who mainly painted portraits, and was one of the most important portraitists of the mid-16th century. He was a prominent and pious citizen of the small city of Brescia, belonging to at least two of the most prominent confraternities. He was born at Rovato, in Brescian territory, and studied first under Fioravante Fe
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