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Santi di Tito (March 6, 1536 – July 23, 1603) was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism.〔Gauvin Alexander Bailey, ''Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610'' (Toronto: University of Toronto, 2003), pp.28-30.〕 ==Biography== He was born in Borgo San Sepolcro, in Tuscany. There is little documentation to support the alleged training under Bronzino or Baccio Bandinelli. From 1558 to 1564, he worked in Rome on frescoes in Palazzo Salviati and the Sala Grande of the Belvedere (''Homage of the People'') alongside Giovanni de' Vecchi and Niccolò Circignani. He acquired a classical trait, described as ''Raphaelesque'' by S.J. Freedburg. This style contrasted with the reigning ornate Roman painterliness of Federico and Taddeo Zuccari or their Florentine equivalents: Vasari, Alessandro Allori, and Bronzino. After returning to Florence in 1564, he joined the Accademia del Disegno. He contributed two conventionally Mannerist paintings for the Duke's study and laboratory, the Studiolo of Francesco I in the Palazzo Vecchio. This artistic project was partly overseen by Giorgio Vasari. These paintings – the ''Sisters of Fetonte (Phaeton)''〔http://www.artothek.de/cgi-bin/art_pl/artdetail.pl?language=044&Bildnr=022416&ID=80785〕 and ''Hercules and Iole''〔 – like many of those in the studiolo, are stylized and overcrowded. Baldinucci recounts that Santi completely rejected the ''maniera'' of Bronzino, and embraced a classical Reformist and naturalistic style.〔F. Baldinucci, Notizie dei professori del disegno da Cimabue in qua, (1681-1728) 2, pp. 540-544., ed. by F. Ranalli, Florence 1845-1847.〕 Santi went on to contribute a ''Sacra Conversazione'' for the Ognissanti and painted two altarpieces for Santa Croce in Florence: a crowded but monumental ''Resurrection'' (1570–74), and a creatively inspired and decorous ''Supper at Emmaus'' (1574). Santi also painted a ''Resurrection of Lazarus'' for Volterra Cathedral; a ''Madonna'' for San Salvatore al Vescovo; a ''Burial of Christ'' for S. Giuseppe; a ''Baptism of Christ by St John'' for the Corsini palace, Florence. Santi died in Florence on July 23, 1603.〔 *〕 A work reflective of Santi's mature style is the ''Vision of Saint Thomas Aquinas'', also known as ''Saint Thomas Dedicating His Works to Christ'' located in the church of San Marco in Florence. It expresses a simple, pious gesture that appeared to have been lost from the courtly sensibility of Italian painting since the days of Raphael, while maintaining the brittle, demarcated color that is classic of Tuscan works. It is a style that will be mirrored in the following decades, in the Bolognese School of the Carracci, in the 1580s and 90s. Among his pupils were Ludovico Cigoli, the leading painter of art Reform in late sixteenth and early seventeenth century Florence. Another pupil named Francesco Mochi became a prominent sculptor in the Baroque style and created, among other pieces, the colossal ''Saint Veronica'', in the crossing of St. Peter's Basilica in Rome."〔Wittkower, Rudolf (1999) ''Art and Architecture in Italy 1600-1750'' Yale Univ. Press.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Santi di Tito」の詳細全文を読む スポンサード リンク
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