PALMA IL GIOVANE

Prophet David 

 

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Jacopo di Antonio Negretti was born in Venice in 1548. By using the pseudonym Jacopo Palma he distinguishes himself from his great uncle Palma Il Vecchio, and begins his artistic career in 1565. His formation takes place first in the Venetian school where the mentor is Tiziano. In fact, it is thought that the “Pity”, left unfinished by Tiziano, was completed by Palma il Giovane. Subsequently he attends the Roman-Florentine School represented by Michelangelo and Raffaello. At the age of twenty he is called by Guidobaldo II Della Rovere in Urbino to depict copies of Tiziano and Raffaello.

A few years later, he approached Mannerism during his stay in Rome. In 1577 he painted a large canvas for the ceiling of the Sala del Maggior Consiglio, “Venice Crowned by Victory,” after the devastating fire that destroyed most of the Palazzo Ducale and numerous works of famous artists.

Palma il Giovane was influenced by the luministic dynamism of Tintoretto, Bassano’s verism and the decorative style of Veronese in Veneto. The artist left in Treviso several works; inside the Duomo of Conegliano you can admire the great canvas “Saint Catherine Baptized by the Hermit”, artwork from 1585, over the high altar of the Parish of Ciano de Mantello the altarpiece “Mary’s Assumption in Heaven and Crowned as Queen”, at Motta di Livenza there is the bright altarpiece of the Assumption and in the end, inside the Church of Zero Branco the “Madonna del Parto”, one of the most important paintings of Palma il Giovane. 

The artist mainly depicts paintings of religious, historical and mythological images, and also makes engravings. Palma il Giovane died in Venice in 1628.

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Oil on Canvas 0,76x1,76

Palma il Giovane 1544-1628

The painting came to Selva, in the mid-1800s with the then parish priest Don Giovanni Saccardo,who had taken him from the venetian deposit where the paintings came from the churches which had been suppressed and stored due to  the Napoleonic edict. David was the second king of Israel (bears the crown of his royalty on his head). He was a skilled leader and likewise a poet and musician (theft hand holds the shape of a zither). many sales of the biblical tradition are described to him. The colours used for the painting suggest that it should be close to that of the prophet Solomon in its original location. We can, infect, find a harmony of colors between the two works : te gold of the mantle of David is founded in the mantle of the prophet Solomon as well as the purple mantle of Solomon is taken up as the prophet David. The neutral background, finally, gives a certain majesty to the figure that occupies almost all the pictorial composition.

A special thanks to the architect Alessandro Facchin and the Selva Nostra association for the elaboration of texts

A special thanks to the voice of Giulia Zanetti and Roman Mandziy for the audio