Antonio Campi

Antonio Campi (Casement bolt, 1523 - 1587) is a painter, an engraver and an Italian architect, the son of Galeazzo Campi and the brother of Giulio Campi and Vincenzo Campi (but they do not have any relationship with Bernardino Campi).

Biography

Raise of his/her major brother Giulio, it starts with a retable for the church of Sant' Ilario of Casement bolt, gone back to 1546. It shows there the influences of Giulio Romano and Parmigianino and even of Primatice, as obvious in paintings as it carries out with his Giulio brother, for the loggia of Brescia (1549).

In approximately 1550, he collaborates, always with Giulio, with the decoration of the Palazzo Pallavicino with Torre Pallavicina, by carrying out very refined and colored mythological paintings.

During these same years, its first stay with Milan dates, where it starts to decorate the church with San Paolo Converso with the cycle of frescos of the presbytery (1564) and where it paints a retable, the Résurrection of Christ , for Santa Maria presso San Celso . Its painting starts to be characterized by a dramatic and spectacular tone which would have gotten to him sympathies of the archbishop Carlo Borromeo, cantor of the Counter-Reformation. Turned over to Crémone, it paints the Pietà (1566) for the dome and the Decollazione della Battista for the church San Sigismondo, work which shows already clearly-obscure, characteristic and marked, built by a strong side source of light that Roberto Longhi will define as a precedent in the painting of the Caravage.

These very intense years are constellated with works: very many frescos (always for the church of San Sigismondo and those of San Vittore to Meda), fabrics ( Crowned Conversazione , today with Brera, San Girolamo , today with the Musée of Prado, the Escurial, the Decollazione of Battista for San Paolo Converso of Milan, the Adoration of the shepherds for Santa Maria della Croce with Crema).

From its Milanese works most advanced are distinguished: the triptych of the church of San Marco of Milan (1577), preserved today in the small museum annexed at the church, and the two fabrics of the Gallarati vault to the church Sant' Angel (1583 - 1584), of almost caravagesque tone, and the decoration of the vault of the church of San Paolo Converso , with a spectacular prospect and the figures of Christ, a Virgin and Apostles of a scenography supported, almost a premonition of painting Baroque, carried out in collaboration with his/her Vincenzo brother.

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