Matteo di Giovanni
Encyclopedia
Matteo di Giovanni c. 1430 - 1495) was an Italian Renaissance
artist from the Sienese school
.
Documentation concerning the early phases of Matteo's life and career as an artist is scanty and nothing is recorded about his apprenticeship. Left to conjecture, we might imagine him as having been trained in the workshop of sculptor/painter Lorenzo di Pietro, better known as Vecchietta
but he clearly was influenced by Stefano di Giovanni, called Sassetta and Domenico di Bartolo
. The miniaturist Girolamo da Cremona
and the Florentine painter Antonio del Pollaiolo also seemed to have contributed to Matteo's distinctive style. In 1452, Matteo entered into partnership with the painter Giovanni di Pietro, and the two shared living quarters in the San Salvatore neighborhood of Siena in 1453. That Matteo, at this time, is recorded as having colored and gilded a sculpture of the Archangel Gabriel by the celebrated Sienese sculptor Jacopo della Quercia
is a reminder of the sort of tasks performed by an artist in the 15th century. Matteo and Giovanni also collaborated in the embellishment of organ shutters in the Siena Cathedral and in the decoration of the San Bernardino Chapel in that cathedral.
That Matteo had succeeded in establishing an artistic reputation is demonstrated by his selection as one of four Sienese painters who were to furnish altarpieces for the chapels of the cathedral erected as part of the urban renewal of Pienza
. For this prestigious commission Matteo painted three altarpieces. Dating to the years 1460-62, these paintings offer a secure point from which to evaluate Matteo's early style and to reconstruct his development as an artist.
The three paintings in Pienza also help to explain the next phase in his style. The first of these altarpieces, a large Madonna and Saints signed "Opus Matthei Johannis De Senis" depicts the enthroned Madonna surrounded by Sts. Catherine, Matthew, Bartholomew, and Lucy. The composition and figure types are reminiscent of those found in [Sano di Pietro]'s paintings while the draperies recall the work of Vecchietta and the St. Catherine type is derived from Domenico di Bartolo. Above this panel, in a lunette, is a flagellation
scene, which, with its violent action, twisted but anatomically correct bodies, and volumetric plasticity, shows a familiarity with the progressive Florentine draftsmanship of Pollaiuolo.
Work from Matteo's middle period includes an altarpiece dated to 1477 for the Oratory of Mary of the Snowfall in Siena; the altarpiece of St. Barbara, dated to 1478-79 for Church of San Domenico, Siena; and what is considered Matteo di Giovanni's masterpiece, the Massacre of the Innocents, which is signed and dated 1482.
During his mature period, Matteo began to paint idyllic and naturalistic landscape scenes employing delicate, lyrical colors derived from the Umbrian school of painting. Matteo's brand of eclecticism
tended to evolve from local taste and tradition. For this reason it is not surprising to find him producing delicate, sweet panels of the Madonna and Child, such as the panel from the Kress Collection now in the Columbia Museum of Art
, depicting the Mother and child with St. Sebastian and St. Catherine of Siena, at almost the same moment that he was painting Judith with the Head of Holofernes(c.1490) now in the Indiana University Art Museum, Bloomington and the horrific events of The Massacre of the Innocents.
Matteo di Giovanni died in Siena in 1495. He is credited with teaching Guidoccio Cozzarelli (1450-1516/17) of Siena, an altarpice painter and miniaturist.
Renaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
artist from the Sienese school
Sienese School
The Sienese School of painting flourished in Siena, Italy between the 13th and 15th centuries and for a time rivaled Florence, though it was more conservative, being inclined towards the decorative beauty and elegant grace of late Gothic art...
.
Biography
Matteo di Giovanni di Bartolo was born in Borgo Sansepolcro around 1430. His family relocated to Siena and he is firmly associated with the art of that city. Matteo was twice married—first in 1463 to a wealthy noble woman and, after her death, to a rich widow, who made it possible for Matteo to buy real estate and by whom he fathered many children.Documentation concerning the early phases of Matteo's life and career as an artist is scanty and nothing is recorded about his apprenticeship. Left to conjecture, we might imagine him as having been trained in the workshop of sculptor/painter Lorenzo di Pietro, better known as Vecchietta
Vecchietta
Francesco di Giorgio e di Lorenzo , known as Vecchietta or Lorenzo di Pietro, was an Italian Sienese School painter, sculptor, goldsmith and architect of the Renaissance...
but he clearly was influenced by Stefano di Giovanni, called Sassetta and Domenico di Bartolo
Domenico di Bartolo
Domenico di Bartolo was an Italian painter of the Sienese School.He was born in Asciano. According to Vasari, he was a nephew of Taddeo di Bartolo. He was employed by Vecchietta in the masterpiece fresco The Care of the Sick in the Pellegrinaio of the Ospedale di Santa Maria della Scala in Siena...
. The miniaturist Girolamo da Cremona
Girolamo da Cremona
Girolamo da Cremona, also known as Girolamo de'Corradi, was an Italian Renaissance painter, illuminator and miniaturist of manuscripts and early printed books...
and the Florentine painter Antonio del Pollaiolo also seemed to have contributed to Matteo's distinctive style. In 1452, Matteo entered into partnership with the painter Giovanni di Pietro, and the two shared living quarters in the San Salvatore neighborhood of Siena in 1453. That Matteo, at this time, is recorded as having colored and gilded a sculpture of the Archangel Gabriel by the celebrated Sienese sculptor Jacopo della Quercia
Jacopo della Quercia
Jacopo della Quercia was an Italian sculptor of the Italian Renaissance, a contemporary of Brunelleschi, Ghiberti and Donatello. He is considered a precursor of Michelangelo.-Biography:...
is a reminder of the sort of tasks performed by an artist in the 15th century. Matteo and Giovanni also collaborated in the embellishment of organ shutters in the Siena Cathedral and in the decoration of the San Bernardino Chapel in that cathedral.
That Matteo had succeeded in establishing an artistic reputation is demonstrated by his selection as one of four Sienese painters who were to furnish altarpieces for the chapels of the cathedral erected as part of the urban renewal of Pienza
Pienza
Pienza, a town and comune in the province of Siena, in the Val d'Orcia in Tuscany , between the towns of Montepulciano and Montalcino, is the "touchstone of Renaissance urbanism."...
. For this prestigious commission Matteo painted three altarpieces. Dating to the years 1460-62, these paintings offer a secure point from which to evaluate Matteo's early style and to reconstruct his development as an artist.
The three paintings in Pienza also help to explain the next phase in his style. The first of these altarpieces, a large Madonna and Saints signed "Opus Matthei Johannis De Senis" depicts the enthroned Madonna surrounded by Sts. Catherine, Matthew, Bartholomew, and Lucy. The composition and figure types are reminiscent of those found in [Sano di Pietro]'s paintings while the draperies recall the work of Vecchietta and the St. Catherine type is derived from Domenico di Bartolo. Above this panel, in a lunette, is a flagellation
Flagellation
Flagellation or flogging is the act of methodically beating or whipping the human body. Specialised implements for it include rods, switches, the cat o' nine tails and the sjambok...
scene, which, with its violent action, twisted but anatomically correct bodies, and volumetric plasticity, shows a familiarity with the progressive Florentine draftsmanship of Pollaiuolo.
Work from Matteo's middle period includes an altarpiece dated to 1477 for the Oratory of Mary of the Snowfall in Siena; the altarpiece of St. Barbara, dated to 1478-79 for Church of San Domenico, Siena; and what is considered Matteo di Giovanni's masterpiece, the Massacre of the Innocents, which is signed and dated 1482.
During his mature period, Matteo began to paint idyllic and naturalistic landscape scenes employing delicate, lyrical colors derived from the Umbrian school of painting. Matteo's brand of eclecticism
tended to evolve from local taste and tradition. For this reason it is not surprising to find him producing delicate, sweet panels of the Madonna and Child, such as the panel from the Kress Collection now in the Columbia Museum of Art
Columbia Museum of Art
The Columbia Museum of Art in Columbia, South Carolina has a collection of European and American fine and decorative art that spans several centuries...
, depicting the Mother and child with St. Sebastian and St. Catherine of Siena, at almost the same moment that he was painting Judith with the Head of Holofernes(c.1490) now in the Indiana University Art Museum, Bloomington and the horrific events of The Massacre of the Innocents.
Matteo di Giovanni died in Siena in 1495. He is credited with teaching Guidoccio Cozzarelli (1450-1516/17) of Siena, an altarpice painter and miniaturist.