Marco Palmezzano Explained

Marco Palmezzano (1460 - 1539) was an Italian painter and architect, belonging to the Forlì painting school, who painted in a style recalling earlier Northern Renaissance models. He was mostly active near Forlì.

Biography

Palmezzano was born and died in Forlì, Romagna.

After his initial training with the painter Melozzo da Forlì — who had collaborated with Piero della Francesca and was widely esteemed as a master of perspective and foreshortening techniques— Palmezzano went to Rome in the early 1490s. It is rumored that Palmezzano may have then traveled to Jerusalem to join the team painting frescoes at the Holy Cross church there, but no documentary evidence exists. He is, however, noted in property records as residing in Venice in 1495. Shortly thereafter, Palmezzano returned to Forlì, where he spent the rest of his long life—apparently with only brief excursions connected with commissions in other places in the region—until his death in 1539.

Among his pupils in Forlì, are listed Baldassarre Carrari il Giovane.[1]

Work

Palmezzano's studio was prolific in producing altarpieces, most commonly featuring the iconic arrangement of an enthroned Virgin with child on her lap, while below, symmetrically sited in the foreground are flanking saints. Venetian painting, in general, and the work of Giovanni Bellini and Cima da Conegliano, in particular, were to remain the most powerful influences on Palmezzano's output. Moreover, he remained faithful to the Venetian style of the later 15th and early 16th century. Mannerism entirely passed him by, and he seemed immune to subsequent developments in Venetian painting. One of the most attractive facets of Palmezzano's oeuvre are the distinctive and suggestive landscapes that form the backdrops of many of his altarpieces. These are a blend of the ideal and lyrical, and of the observed reality of the Apennine foothills and mountains to the south of Forli for which Palmezzano clearly had a real affection. These landscapes are also employed to subtle and imaginative effect to convey the symbolic religious messages of the works.

Chronology of work

Sources

Notes and References

  1. https://books.google.com/books?id=tO5ZAAAAYAAJ Pittura miscellanea

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