Lives of the most Eminent Painters Sculptors and Architects, Vol. 06 (of 10): Fra Giocondo to Niccolo Soggi — John Shaqi
Lives of the most Eminent Painters Sculptors and Architects, Vol. 06 (of 10): Fra Giocondo to Niccolo SoggiVasari, Giorgio
History
Lives of the most Eminent Painters Sculptors and Architects, Vol. 06 (of 10): Fra Giocondo to Niccolo Soggi
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
Giovan Francesco Caroto was born at Verona in the year 1470, and after
having learned the first rudiments of letters, being drawn to painting,
he abandoned the studies of grammar and placed himself to learn painting
under the Veronese Liberale, undertaking to recompense him for his
pains. Young as he was, then, Giovan Francesco devoted himself with such
love and diligence to design, that even in his earliest years he was a
great assistance to Liberale both in that and in colouring. No long time
after, when his judgment had increased with his years, he saw the works
of Andrea Mantegna in Verona; and thinking, as indeed was the truth,
that these were of another manner and better than those of his master,
he so wrought upon his father that he was given leave, with the gracious
consent of Liberale, to apprentice himself to Mantegna. Having gone to
Mantua, therefore, and having placed himself under Mantegna, in a short
time he made such proficience that Andrea sent out works by Caroto as
works by his own hand. In short, before many years had passed by, he had
become an able master. The first works that he executed after leaving
the discipline of Mantegna were on the altar of the three Magi in the
Church of the Hospital of S. Cosimo at Verona, where he painted on the
folding-doors that enclose that altar the Circumcision of Christ and the
Flight into Egypt, with other figures. In the Church of the Frati
Ingiesuati, called S. Girolamo, in two angles of a chapel, he painted
the Madonna and the Angel of the Annunciation. And for the Prior of the
Friars of S. Giorgio he executed a little panel-picture of the Manger,
in which he may be seen to have greatly improved his manner, since the
heads of the shepherds and of all the other figures have expressions so
sweet and so beautiful, that this work was much extolled, and that
rightly; and if it were not that the priming of gesso is peeling off
through having been badly prepared, so that the picture is gradually
perishing, it would be enough by itself to keep him alive for ever in
the memory of his fellow-citizens.
Public-domain text, read in full here on John Shaqi.
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