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Bartolomeo Schedoni (1578 - 1615)



Bartolomeo Schedoni
(1578 - 1615)
      Secular Narratives Art Work
Name: Bartolomeo Schedoni
Gender: Male
Place of Birth: Moderna
Nationality: Italian
Birth: 1578
Death: 1615
Website:
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   Quick Facts
Known For: Secular Narratives
Medium:
Method:
Style: Baroque
Fine Art Profession(s): Painting


Biography
Schedoni was an exceptionally original painter active primarily in the ducal courts of Modena and Parma; his career was cut short by his sudden death (perhaps suicide) after losing heavily at gambling. Like his contemporary, Scarsellino, Schedoni is gaining renewed critical attention from scholars. The son of an artistan mask-maker active in the Parmese court, Schedoni apparently demonstrated an early brilliance which gained the support of Duke Ranuccio Farnese, who, as early as 1597 if not before, sent Scbedoni to Rome to study with Federico Zuccaro, painter to the Farnese family. The stay was brief; an illness prompted Schedonfs return to Parma, where, in the year 1597, Schedoni entered the service of the Farnese. Though his training is unclear, Schedoni's style is based on his study of Correggio, Ludovico Carracci, Dosso Dossi, and perhaps Scarsellino. Working in Parma, in Modena, and in Reggio Emilia from 1597 to 1598, Schedoni returned to Parma late in 1599. There he received the commission for a now lost altarpiece of the Adoration of the Magi for the convent of S. Eufemia, upon which he worked until 1600. Later that year he was banished from Parma for assault. He thereupon entered the service of Cesare d'Este, Duke of Modena (who had recently lost Ferrara to the Papacy), and was active in decorating the duke's palace. His nine pictures for the vault of the palace chapel and other decorations were lost when the palace was razed. The only surviving work is his decoration of the Sala del Constglio in the Palazzo Communale, commissioned (together with Hercole Abbate) in 1604 and on which he was active until 1607. Documentary evidence suggests that his involvement with the cycle was concentrated in the months of February through July 1607; after that he re-entered the service of Ranuccio Farnese in Parma, where he apparently remained until his death. Perhaps his youthful and difficult temperament was more subdued in late life. In 1613 he was likely commissioned to paint an Entombment and Three Maries at the Tomb (both Parma, Galleria Nazionale) for the church at Fontevivo near Parma. These rank among his finest works and are executed in his mature style. Characterized by strongly lit forms with smoothly painted, tensely angular planes of drapery as well as reductive shapes with a robust dimensionality, this late style, which exploits so dramatically the formal and narrative possibilities of strong chiaroscuro, is considered a parallel development to that of Caravaggio's and is important for the evolution of Guercino and Lanfranco's style. The balanced planarity of his compositions may have inspired Poussin. His production includes a number of small works often described as cabinets. Generally religious in nature, these works, often done in more than one version, must have appealed to private patrons because of their quiet sentiment and vigorous painting.

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