BIOGRAPHY PALMA IL GIOVANE
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.
Tuttavia ottiene due commissioni pubbliche : un telero per la Sala dell’Udienza in Palazzo Ducale databile tra il 1507 e il 1508 e gli affreschi realizzati sulla facciata del Fondaco dei Tedeschi realizzati nel 1508 dei quali oggi sopravvive, nelle gallerie dell’Accademia, un frammento di nudo femminile.
Con Giorgione le premesse stilistiche affermate da Bellini giungono a piena maturazione : l’artista, infatti, riesce a superare gli influssi gotici del maestro come la minuziosa attenzione ai dettagli attraverso la costruzione dell’immagine pittorica con un potente risalto plastico, tipico dei grandi maestri fiorentini rinascimentali nonché di Antonello da Messina e Piero della Francesca.