Sisto Badalocchio
(1585 - 1620) |
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Art Work
| Name: |
Sisto Badalocchio |
| Gender: |
Male |
| Place of Birth: |
Parma |
| Nationality: |
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| Birth: |
1585 |
| Death: |
1620 |
| Website: |
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| Past Auctions: |
Click Here |
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Quick Facts
| Known For: |
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| Medium: |
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| Method: |
Engraving, Fresco Painting, |
| Style: |
Baroque |
| Fine Art Profession(s): |
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Biography
| Once considered a minor artist, Sisto Badalocchio has enjoyed a revival of interest. A friend of Lanfranco and an important member of Annibale CarracciV studio, Badalocchio developed a charming style, employing full-bodied figures whose faces and gestures have a dreamy grace. His surviving oeuvre is still small, although contemporary scholars continue to add new examples. Sources vary as to Sisto's training. Despite his birth in Parma, he may (if Malvasia is to be believed) have first studied with the Carracci Academy in Bologna. Some contemporary scholars suggest that Badalocchio really began his studies in Parma, when Agostino Carracci arrived there to enter the service of Duke Ranuccio Farnese between 1600 and 1602. Badalocchio's earliest signed and dated independent works are his etchings after the Laocoon (d. 1606) and a series (done in collaboration with Lanfranco) of etchings after Raphael's Vatican Loggia. Lanfranco doubtless influenced Sisto, who adopted Lanfranco's use of dynamic lighting and sparing use of figures in his compositions. Sisto was active mainly in Parma in the years just following Annibale's death, though he occasionally also worked in Rome. In Parma he became reacquainted with the work of Correggio and also that of Schedoni,* so that his painting took on a decidedly Emilian slant. Sisto's most important commission of the period is the series of pendentives and the cupola dome frescoes in the church of San Giovanni Evangelista in Reggio Emilia in 1613. The cupola's Ascension dramatically demonstrates how Badalocchio looked to Correggio for lighting and delicacy of sentiment (as well as overall composition), and how strongly he depended on Carracci and Lanfranco for his individual robust figures. In late 1614 Badalocchio returned to Rome, where he worked with Lanfranco on the Palazzo Costaguti. Three years later (1617) Badalocchio married in Parma. He seems to have remained active there for the next few years, since documents survive indicating that his Guardian Angel (Parma, S. Maria della Grazie) was paid for in 1619. We have no secure documents for Badalocchio after that date, though E. Schleier has suggested, on the basis of published prints, that Badalocchio was in Rome around 1620-21. Lack of knowledge of the year or place of his death, as well as lack of dates for his works, has left the chronology of his surviving oeuvre problematical. |
Samples of Work
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