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DEATH:
1563 SCHIAVONE
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on 01 December 1563 Andrea Medulich (or Meldolla, Medulla)
“Schiavone”, Italian artist born in Dalmatia in
1522. — Italian painter and etcher (original name Andrea Meldolla). His nickname "Schiavone" means Slav, reflecting the fact that he came from Zara, Dalmatia (then under Venetian jurisdiction). He worked mainly in Venice, where he was on friendly terms with Titian (who along with Parmigianino was one of the main influences on his style). His most characteristic works were small-scale religious or mythological scenes for private patrons in a vigorous, painterly style. — Born in Zava (Zadar) on Dalmatian coast, then under Venetian rule. In 1556 won a painting commission in the Biblioteca Marciana in Venice. Worked mostly in intaglio and at the end of his life made designs for block prints. Died in Venice. — Although the artist was born in Zadar, his ancestors came from the place called Meldola, Italy (Romagna). However, he expressed his deep and permanent association with the Croatian Adriatic coast by his nickname Schiavone (Slav). — LINKS — Landscape with Jupiter and Io (205x275cm) _ The subject of the picture was taken from Ovid's Metamorphoses: the jealous Juno catches Jupiter with Io. To save his lover Jupiter transforms her into a cow and entrust her to Argus. The landscape is the main subject of the painting, the human figures are only staffages. — La Conversione di S. Paolo (205x265cm) _ Dopo una generica attribuzione alla scuola veneta l'opera è stata indicata come di Bonifacio de' Pitati (The Conversion of Saul,1570) per poi essere riconosciuta come dello Schiavone. Grande, movimentata composizione in cui i cavalli, le bandiere e i soldati sembrano rapiti da un turbine, mentre sopra un cielo apocalittico, striato di verde, scoppia, fenomeno meteorico, la luce nella quale il Cristo tra gli angeli impone il suo volere. I colori squillano ovunque, e gli sbattimenti luministici si esaltano sulle profondità scure. Pare che lo Schiavone abbia tenuto presente nel volo del Cristo in iscorcio quello del S. Marco dal Miracolo dello schiavo (1548) del Tintoretto e polemizzi nella sua mossa invenzione con l'immobilità del primo piano e la staticità della natura che sono in quello. Non mancano in quest'opera richiami a Raffaello e alla sua scuola filtrati anche attraverso i modi del Pordenone. |
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