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Taddeo Zuccaro (1529-1566)

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    Taddeo Zuccaro , Sant' Angelo in Vado, Marches 1529 - 1566 Rome recto: the virgin fainting, supported by one of the holy women, with subsidiary studies of the virgin's head and hands; verso : drapery study of a standing figure, leaning over to the

    Taddeo Zuccaro , Sant' Angelo in Vado, Marches 1529 - 1566 Rome recto: the virgin fainting, supported by one of the holy women, with subsidiary studies of the virgin's head and hands; verso : drapery study of a standing figure, leaning over to the

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    Taddeo Zuccaro (1529-1566)

    Taddeo Zuccaro (1529-1566)

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    Taddeo Zuccaro (Sant'Angelo in Vado 1529-1566 Rome)

    Taddeo Zuccaro (Sant'Angelo in Vado 1529-1566 Rome)

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    TADDEO ZUCCARO

    TADDEO ZUCCARO

Taddeo Zuccaro Biography

(b S Angelo in Vado, Marches, 1 Sept 1529; d Rome, 2 Sept 1566). Painter and draughtsman. Taught to draw by his father, at the age of 14 he went alone to Rome where, according to Vasari, he was employed in various workshops and studied independently, particularly the works of Raphael. Through assisting Daniele de Porri (1500–77), who had trained in Parma, he learnt of the work of Correggio and Parmigianino. He first became known for his paintings on façades, notably scenes from the Story of Furius Camillus on the palazzo of a Roman nobleman Jacopo Matteo, executed in 1548. Vasari claimed that Taddeo’s façade decorations equalled those of Polidoro da Caravaggio; none survives, although some are documented in drawings (e.g. London, BM; Paris, Louvre) and show his assimilation of Polidoro’s style. Taddeo’s earliest extant works date from 1553 when he collaborated with Prospero Fontana on the decoration (part destr.) of the villa of Pope Julius III outside the Porta del Popolo in Rome; Taddeo’s contributions included scenes of The Seasons in the loggia of the nymphaeum. In these, clarity of form and space, natural proportions and idealization of human form demonstrate his affinity with the classicism of the High Renaissance. He also assimilated the sculptural sensibility of Mannerism, derived from Michelangelo. This awareness of sculptural form can be seen in his drawings, complex compositions that inventively blend stylistic conventions of the High Renaissance with figures of refined expression, gesture and pose derived from the art of such painters as Parmigianino, Bronzino, Francesco Salviati and Giorgio Vasari.

Grove Art excerpts - Electronic ©2003, Oxford Art Online

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