Giovanni Di Paolo

Italy, 1403 - 1482
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Giovanni Di Paolo oil paintings
Giovanni Di Paolo
Item ID:28526
The Virgin and Child
Giovanni Di Paolo
Item ID:28527
The Archangel Michael
Giovanni Di Paolo
Item ID:28528
The Agony in the Garden
Giovanni Di Paolo
Item ID:28529
The Lamentation
Giovanni Di Paolo
Item ID:28530
The Annunciation
Giovanni Di Paolo
Item ID:28531
St. John the Baptist Retiring to the Desert
Giovanni Di Paolo
Item ID:28532
The Feast of Herod
Giovanni Di Paolo
Item ID:28533
Saint John the Baptist Entering the Wilderness
Giovanni Di Paolo
Item ID:28534
The Beheading of St. John the Baptist
Giovanni Di Paolo
Item ID:28535
St. Clare Rescuing the Shipwrecked
Giovanni Di Paolo
Item ID:28536
St. Catherine before the Pope at Avignon
Giovanni Di Paolo
Item ID:28537
St. Jerome Appearing to St. Augustine
Giovanni Di Paolo
Item ID:28538
Madonna with the Child
Giovanni Di Paolo
Item ID:39141
Nativity II
Giovanni Di Paolo
Item ID:39142
St Ansanus Baptizing
Giovanni Di Paolo
Item ID:39143
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Painter whose religious paintings maintained the mystical intensity and conservative style of Gothic decorative painting against the trend, progressively dominant in the art of 15th-century Tuscany, toward scientific naturalism and classical humanism. One of the last practitioners of the tradition of medieval painting, he did little to influence the course of art over the four centuries after his death. In the 20th century, however, his tense, often highly dramatic works aroused increasing interest. Giovanni probably was a pupil of the painter Taddeo di Bartolo, whose style is reflected in his earliest dated work, the Madonna and Child with Angels (1426). In that year Giovanni fell under the influence of the decorative and courtly paintings of Gentile da Fabriano, as can be seen in Giovanni's Madonna of 1427. During the 1440s and early 1450s Giovanni produced his most important works, including the monumental altarpiece of the Presentation of Christ in the Temple (1447-49) and six scenes from The Life of St. John the Baptist. The brooding Madonna altarpiece of 1463 in the Pienza Cathedral marks the beginning of Giovanni's late period. Giovanni never left his native Siena, and his work reveals his persistent disdain of Tuscany's progressive painters. Hewas long considered an inferior artist; his tormented spirituality and expressionist style were little appreciated before about 1920, but from that time his nervous draftsmanship and expressive distortions were consideredto have heralded 16th-century Mannerist art and the paintingof 20th-century Expressionism. Not only the colouristically and formally attractive figures and landscapes of the painter's early and middle periods but also the harsh, ugly forms of the 1460s and especially the 1470s are of interest, as they illustrate the artist's changing vision of the world during the course of his development.
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