Camillo Procaccini (3 March 1561 at Parma – 21 August 1629) was an Italian painter. He has been posthumously referred to as the Vasari of Lombardy , for his prolific Mannerist fresco decoration.
Born in Bologna, he was the son of the painter Ercole Procaccini the Elder, and older brother to Giulio Cesare and Carlo Antonio, both painters.
In 1587 he distinguished in the fresco decoration of the Basilica della Ghiara in Reggio Emilia. In the late 1580s he moved to Milan, where count Camillo Visconti Borromeo commissioned him the decoration of his villa in Lainate. The organ shutters for the Cathedral of Milan were painted after 1590 by Camillo, Giuseppe Meda (died 1599), and Ambrogio Figino. He painted the frescoes of the nave and the apse of the Cathedral of Piacenza in collaboration with Ludovico Carracci (1605–1609), and the vault and choir in San Barnaba of Milan. He painted a Nativity in the Sacro Monte d'Orta.
He is known for a Martyrdom of St. Agnes painted in fresco in the sacristy of the Milan cathedral; a Madonna and Child painted for the church of Santa Maria del Carmine; an 'Adoration of the Shepherds found in the Brera; and the ceiling of the church of Padri Zoccolanti, representing the Assumption of the Virgin. He painted an altarpiece with the Annunciation for the Certosa di Pavia [1] and two canvases with Mary sister of Moses who rejoices after the passage of the Red Sea and Rebecca who quenches the thirst of Abraham's servant from the cycle of heroines of the Bible (1620-23) for the church of Santa Maria di Canepanova in Pavia. [2] He frescoed a large Last Judgment in the apse of the church of San Prospero at Reggio. He painted a St. Roch administering the Sacrament to the Plague-stricken[ where? ]. At Santa Maria del Suffragio, Piacenza he painted Immaculate Conception with Saints Francis and Anthony.
Among his pupils was the painter Giovanni Battista Discepoli. [3] Another pupil was Lorenzo Franchi (c. 1563 - c. 1630). [4]
Daniele Crespi was an Italian painter and draughtsman. He is regarded as one of the most original artists working in Milan in the 1620s. He broke away from the exaggerated manner of Lombard Mannerism in favour of an early Baroque style, distinguished by clarity of form and content. A prolific history painter, he was also known for his portraits.
Michelangelo Anselmi was an Italian Renaissance-Mannerist painter active mostly in Parma.
Alessandro Tiarini was an Italian Baroque painter of the Bolognese School.
The Certosa di Pavia is a monastery and complex in Lombardy, Northern Italy, situated near a small town of the same name in the Province of Pavia, 8 km (5.0 mi) north of Pavia. Built in 1396–1495, it was once located on the border of a large hunting park belonging to the Visconti family of Milan, of which today only scattered parts remain. It is one of the largest monasteries in Italy.
Giulio Cesare Procaccini (1574–1625) was an Italian painter and sculptor of the early Baroque era in Milan.
Pier Francesco Mazzucchelli was an Italian painter and draughtsman who was active in Milan. He is mainly known for his altarpieces, but his outstanding achievements are large decorative frescoes for the Sacro Monte di Varese and the Sacro Monte di Varallo.
Giovanni Andrea Ansaldo was an Italian painter active mainly in Genoa.
Bernardino Gatti was an Italian painter of the Renaissance, active mainly in Parma and Cremona. He is also commonly called il Sojaro.
Carlo Francesco Nuvolone was an Italian painter of religious subjects and portraits who was active mainly in Lombardy. He became the leading painter in Lombardy in the mid-17th century, producing works on canvas as well as frescoes. Because his style was perceived as close to that of Guido Reni he was nicknamed il Guido della Lombardia.
Guglielmo Borremans or Guglielmo Fiamingo (1670–1744) was a Flemish painter whose documented career took principally place in Italy, in particular Naples, Cosenza and Sicily. Here he was one of the pre-eminent late-Baroque fresco painters of the first half of the 17th century who received multiple commissions to decorate churches and palaces.
Giacomo Boni was an Italian painter of the late-Baroque period, active mainly in Genoa.
Giuseppe Peroni was an Italian painter of the Baroque period.
Filippo Abbiati (1640–1715) was an Italian painter of the early-Baroque period, active in Lombardy and Turin, together with Andrea Lanzani and Stefano Maria Legnani, he was a prominent mannerist painters from the School of Lombardy. Born in Milan, he was a pupil of the painter Antonio Busca. Alessandro Magnasco was one of his pupils along with Pietro Maggi and Giuseppe Rivola. Ticozzi claims he trained, along with Federigo Bianchi, with Carlo Francesco Nuvolone. Along with Bianchi, he painted the cupola of Sant'Alessandro Martire in Milan. Abbiati also painted a St. John preaching in the Wilderness for a church in Saronno.
Simone Peterzano was an Italian painter from Bergamo, but stressed his links to Venice where he probably trained. He painted in mannerist style and is mostly known as the master of Caravaggio.
Tomasso Sandrino (1575–1631) was an Italian painter of quadratura in Northern Italy, active in his native Brescia.
Santa Maria di Canepanova is a Renaissance style Roman Catholic church located in central Pavia, region of Lombardy, Italy. Although in the past the design was popularly attributed to Bramante, the church was designed by Giovanni Antonio Amadeo.
Domenico Pedrini was an Italian painter. Fiercely provincial in his geographic activity, Pedrini's works were mainly completed in and around Bologna, and yet his atavistic style strayed far afield into Bologna's strong Baroque ancestry.
Pietro Maggi was an Italian painter of the late-Baroque period.
Giuseppe Velasquez, Velasques or Velasco was an Italian painter, active in a Neoclassic style.
Piero or Pietro Paolo Vasta was an Italian painter of the Baroque period, mainly active in the east of his native Sicily.
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