Simone Pignoni

Last updated February 22, 2019

Simone Pignoni (April 17, 1611 – December 16, 1698) was an Italian painter of the Baroque period.

Italy, officially the Italian Republic, is a country in Europe. Located in the middle of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia and the enclaved microstates San Marino and Vatican City. Italy covers an area of 301,340 km² (116,350 sq mi) and has a largely temperate seasonal and Mediterranean climate. With around 61 million inhabitants, it is the fourth-most populous EU member state and the most populous country in Southern Europe.

The Baroque is a highly ornate and often extravagant style of architecture, music, painting, sculpture and other arts that flourished in Europe from the early 17th until the mid-18th century. It followed the Renaissance style and preceded the Rococo and Neoclassical styles. It was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture, art and music, though Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, movement, exuberant detail, deep colour, grandeur and surprise to achieve a sense of awe. The style began at the start of the 17th century in Rome, then spread rapidly to France, northern Italy, Spain and Portugal, then to Austria and southern Germany. By the 1730s, it had evolved into an even more flamboyant style, called rocaille or Rococo, which appeared in France and central Europe until the mid to late 18th century.

He apprenticed with Fabrizio Boschi, then with the more academic and puritanical Domenico Passignano, and finally with Francesco Furini. He is best known for painting in a style reminiscent of the morbidly sensual Furini. Reflective of this obsession is his self-portrait, c. 1650, in which he depicts himself building up a plump naked female from a skeleton. The biographer Baldinucci, in what little he notes of the painter, recalls him as the scandalous "imitator of (Furini's) licentious inventions".

Fabrizio Boschi (1572–1642) was an Italian painter of the early-Baroque period, active in Florence.

Domenico Passignano, born Cresti or Crespi, was an Italian painter of a late-Renaissance or Counter-Maniera (Counter-Mannerism) style that emerged in Florence towards the end of the 16th century.

Francesco Furini was an Italian Baroque painter of Florence, noted for his sensual sfumato style in paintings of both secular and religious subjects.

A more complete biography was recorded by his pupil Giovanni Camillo Sagrestani. Described as endowed with a "bizarre and amenable intelligence", Pignoni apparently had a late-life conversion to more pious painting. There is one episode recalled that during a serious illness "because in his life he had focused on studying about female forms, and (now) having resigned himself to the impending infinity, his spiritual father urged him to purge those errors with the flame, and once guided by a good disposition, he suddenly was cured by the Lord." Baldinucci's biography of Furini also recorded a similar, near-death renunciation of his art of the naked figure.

Giovanni Camillo Sagrestani (1660–1731) was an Italian painter of the Baroque era.

Among his more conventional works are a St. Agatha cured by St. Peter (attributed) in the Museo Civico di Trieste; a St. Louis providing a banquet for the poor (c. 1682) now in the church of Santa Felicita in Florence, commissioned by Conte Luigi Gucciardini; and a Madonna and child in glory with archangels Saints Michael and Raphael in battle armor and San Antonio of Padua (1671) for the Cappella di San Michele in Santissima Annunziata. He painted an Allegory of Peace in Palazzo Vecchio. A Penitent Magdalen that has been attributed to Pignoni is found in the Pitti Palace. In San Bartolomeo in Monteoliveto, he painted a Madonna appearing to Blessed Bernardo Tolomeo.

Trieste is a city and a seaport in northeastern Italy. It is situated towards the end of a narrow strip of Italian territory lying between the Adriatic Sea and Slovenia, which lies almost immediately south and east of the city. It is also located near Croatia some further 30 kilometres (19 mi) south.

The Palazzo Vecchio is the town hall of Florence, Italy. It overlooks the Piazza della Signoria with its copy of Michelangelo's David statue as well as the gallery of statues in the adjacent Loggia dei Lanzi.

Territorial Abbey of Monte Oliveto Maggiore territorial abbey

The Abbey of Monte Oliveto Maggiore is a large Benedictine monastery in the Italian region of Tuscany, 10 km south of Asciano. Its buildings, which are mostly of red brick, are conspicuous against the grey clayey and sandy soil—the Crete senesi which give this area of Tuscany its name.

In addition to Sagrestani, another pupil was the priest Luca Querci of Cutigliano.^[1]

Cutigliano was a comune (municipality) in the province of Pistoia in the Italian region Tuscany, located about 50 kilometres (31 mi) northwest of Florence and about 25 kilometres (16 mi) northwest of Pistoia. It has been a frazione of Abetone Cutigliano since 2017.

Related Research Articles

Duccio di Buoninsegna was an Italian painter active in Siena, Tuscany, in the late 13th and early 14th century. He was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is credited with creating the painting styles of Trecento and the Sienese school, and also contributed significantly to the Sienese Gothic style.

Simone Martini was an Italian painter born in Siena. He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style.

Carlo Cignani was an Italian painter. His innovative style referred to as his 'new manner' introduced a reflective, intimate mood of painting and presaged the later pictures of Guido Reni and Guercino, as well as those of Simone Cantarini. This gentle manner marked a break with the more energetic style of earlier Bolognese classicism of the Bolognese School of painting.

Lorenzo Lippi was an Italian painter and poet.

Francesco Vanni was an Italian painter of the Mannerist style, active in Rome and his native city of Siena.

Guido Cagnacci was an Italian painter originally from Santarcangelo di Romagna. Associated most readily with the Baroque period, his mature works are characterized by their use of chiaroscuro and their sensual subjects. He was influenced by the masters of the Bolognese School.

Giovanni Francesco Romanelli was a major Italian painter of the Baroque period, celebrated for his use of bright, vivid colors and also for his clarity of detail. Many of his works are on display in the Louvre.

Matteo Rosselli was an Italian painter of the late Florentine Counter-Mannerism and early Baroque. He is best known however for his highly populated grand-manner historical paintings.

Cecco Bravo was an Italian painter of the Florentine Baroque school. His true name is Francesco Montelatici.

Filippo Lauri was an Italian painter of the Baroque period, active mainly in Rome.

Vittorio Bigari was an Italian painter of the late-Baroque period.

Neri di Bicci (1419–1491) was an Italian painter active mainly in Florence. A prolific painter of mainly religious themes, he worked in the medium of tempera. He studied under his father, Bicci di Lorenzo, who in turn had studied under his father, Lorenzo di Bicci. All three were part of a lineage of great painters beginning with Neri's grandfather Lorenzo who was a pupil of Spinello Aretino.

Onorio Marinari was an Italian painter and printmaker of the Baroque period, active mainly in Florence. His father, Sigismondo di Pietro Marinari, was also a painter, and he trained with his cousin, Carlo Dolci, later being also influenced by Simone Pignoni and Francesco Furini.

Aurelio Lomi was an Italian painter of the late-Renaissance and early-Baroque periods, active mainly in his native town of Pisa, Tuscany.

Pietro Dandini was an Italian painter of the Baroque period, active mainly in Florence.

Lorenzo di Bicci was an Italian painter of the Florentine School considered to be one of the most important painters in Florence during the second half of the 14th century. He is believed to have learned his trade from his father, about whom little is known. Lorenzo’s style, as well as that of his contemporaries Jacopo di Cione and Niccolò di Pietro Gerini, was influenced by the artist Andrea di Cione. Lorenzo's paintings made use of bright colors and his compositions avoided complexity. The figures he painted tended to have round faces and were often expressionless. Another one of Lorenzo's distinctive characteristics was his precision of execution. He was known for exceptional talent in drawing, an ability that he put to use at the initial stages of his painting. Unlike many celebrated Florentine artists of this period, Lorenzo mostly received commissions from the country clergy and from the lower-middle class Florentine guilds. His successors, Bicci di Lorenzo and Neri di Bicci, continued to serve these groups.

Evangelista Schiano was an Italian painter, mainly of sacred subjects.

Valore Casini (1590–1660) and Domenico Casini were two brothers, both Italian painters, active in Florence, mainly as portraitists in the first half of the 17th century.

References

Ewald, Gerhard (1964). "Simone Pignoni, a Little-Known Florentine Seicento Painter". The Burlington Magazine: 218–226.
Grove encyclopedia Biography on Artnet.

↑ Guida di Pistoia per gli amanti delle belle arti con notizie, by Francesco Tolomei, 1821, page 194.

This article about an Italian painter born in the 17th century is a stub. You can help Wikipedia by expanding it.

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.

[1] Guida di Pistoia per gli amanti delle belle arti con notizie, by Francesco Tolomei, 1821, page 194.