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Revision as of 01:26, 5 March 2007 editGiorgioOrsini (talk \| contribs)548 edits Removed nonsense about Meldola's name← Previous edit		Revision as of 08:20, 20 April 2007 edit undoKubura (talk \| contribs)Extended confirmed users5,574 edits Schiavone was a name for Croats. Riva dei Schiavoni = Riva od Hrvatov in 19. century Croatian translations.Next edit →
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	==Biography==		==Biography==
	Meldolla was the son of a garrison commander of a post near ] (~~today ],~~ ]) in ~~the~~ ] ] . He was also called ''Il Schiavone'' (] for "the ]"). The painter's family came from a small town Meldolla close to the city of ] in ]. According to the ], Meldolla was born in ~~Zara in Dalmatia~~ and trained either in ~~Zara~~ or in Venice. Lomazzo stated, in a book of 1584, that he was a pupil of Parmigianino, but this has been doubted. There are unproven claims that he trained with ]. He worked in fresco, panel painting, and etching (teaching himself to etch by working initially from drawings by ]). By 1540, he was well enough established in Venice that ] commissioned him a large battle picture (which the Florentine author mentions in his ''Lives''). Although initially much influenced by Parmigianino and Italian ], "he was also a strikingly daring exponent of Venetian painting techniques", and ultimately combined both in his works, influencing ], ], and ] among others. His works "shocked some contemporaries and stimulated others". By the 1550s, he had achieved a new synthesis of ] and Titian's compositional elements with his own interest in atmosphere, effecting a "fusion of form with a dense atmosphere in a pictorial fabric whose elements tend to lose their separate indenties".		Meldolla was the son of a garrison commander of a post near ] (]), at that time under ] rule. He was also called ''Il Schiavone'' (] for the ]). The painter's family came from a small town Meldolla close to the city of ] in ]. According to the ], Meldolla was born in Zadar and trained either in Zadar or in Venice. Lomazzo stated, in a book of 1584, that he was a pupil of Parmigianino, but this has been doubted. There are unproven claims that he trained with ]. He worked in fresco, panel painting, and etching (teaching himself to etch by working initially from drawings by ]). By 1540, he was well enough established in Venice that ] commissioned him a large battle picture (which the Florentine author mentions in his ''Lives''). Although initially much influenced by Parmigianino and Italian ], "he was also a strikingly daring exponent of Venetian painting techniques", and ultimately combined both in his works, influencing ], ], and ] among others. His works "shocked some contemporaries and stimulated others". By the 1550s, he had achieved a new synthesis of ] and Titian's compositional elements with his own interest in atmosphere, effecting a "fusion of form with a dense atmosphere in a pictorial fabric whose elements tend to lose their separate indenties".
	]		]
	Freedburg describes Meldolla as well adapted to the Mannerist vocabulary, and that while he was "able to invent a Venetian Maniera...he was strangely uncreative in the more ordinary workings of artistic invention." Later in the 1550s, "occasionally, the sensibility - too receptive, almost feminine - that inclined Schiavone towards imitation brought him to the verge of echo of the larger personality (Titian)". Other works have attributions disputed between him and ]. Few of his paintings are documented; this may be because, as Vasari states, he mostly worked for private clients.		Freedburg describes Meldolla as well adapted to the Mannerist vocabulary, and that while he was "able to invent a Venetian Maniera...he was strangely uncreative in the more ordinary workings of artistic invention." Later in the 1550s, "occasionally, the sensibility - too receptive, almost feminine - that inclined Schiavone towards imitation brought him to the verge of echo of the larger personality (Titian)". Other works have attributions disputed between him and ]. Few of his paintings are documented; this may be because, as Vasari states, he mostly worked for private clients.

Revision as of 08:20, 20 April 2007

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Andrea Meldolla, more often known in English as Andrea Schiavone or Il Schiavone (c. 1510/1515 - 1563) was an Italian Renaissance etcher and painter, active mainly in Venice.

Biography

Meldolla was the son of a garrison commander of a post near Zadar (Croatia), at that time under Venetian rule. He was also called Il Schiavone (Venitean for the Croats). The painter's family came from a small town Meldolla close to the city of Forlì in Romagna. According to the Grove Dictionary of Art, Meldolla was born in Zadar and trained either in Zadar or in Venice. Lomazzo stated, in a book of 1584, that he was a pupil of Parmigianino, but this has been doubted. There are unproven claims that he trained with Bonifazio de Pitati. He worked in fresco, panel painting, and etching (teaching himself to etch by working initially from drawings by Parmigianino). By 1540, he was well enough established in Venice that Giorgio Vasari commissioned him a large battle picture (which the Florentine author mentions in his Lives). Although initially much influenced by Parmigianino and Italian Mannerism, "he was also a strikingly daring exponent of Venetian painting techniques", and ultimately combined both in his works, influencing Titian, Tintoretto, and Jacopo Bassano among others. His works "shocked some contemporaries and stimulated others". By the 1550s, he had achieved a new synthesis of Raphael and Titian's compositional elements with his own interest in atmosphere, effecting a "fusion of form with a dense atmosphere in a pictorial fabric whose elements tend to lose their separate indenties".

Freedburg describes Meldolla as well adapted to the Mannerist vocabulary, and that while he was "able to invent a Venetian Maniera...he was strangely uncreative in the more ordinary workings of artistic invention." Later in the 1550s, "occasionally, the sensibility - too receptive, almost feminine - that inclined Schiavone towards imitation brought him to the verge of echo of the larger personality (Titian)". Other works have attributions disputed between him and Tintoretto. Few of his paintings are documented; this may be because, as Vasari states, he mostly worked for private clients.

Richardson also insists on his importance as an etcher: "In etching he was similarly innovative. His technique was unlike that of any contemporary: unsystematically he used dense webs of light, fine, multidirectional hatching to create a tonal continuum embracing form, light, shadow, and air. His etchings are the only real equivalent in printmaking of later 16th-century Venetian painting modes, and his technical experiments were emulated by 17th-century etchers such as Jacques Bellange, Giovanni Benedetto Castiglione and Rembrandt".

Meldolla died in Venice.

References

Francis E. Richardson, Andrea Schiavone (Oxford University Press, Oxford and New York, 1980);
Francis E, Richardson, in the Encyclopedia of Italian Renaissance & Mannerist Art, 2: pp. 1502-04 at 1503
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500-1600. Penguin Books Ltd. pp. 533–4.

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