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both preserved in the
Palazzo Bianco gallery in Genoa. In these canvases, the colors were not very vibrant, but the painter achieved a greater compositional balance, even if he did not get to possess a personal style, since he did not yet show the later influence of
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Valerio
Castello 1624-1659 Genio Moderno, catalogo della mostra a cura di Marzia Cataldi Gallo, Luca Leoncini, Camillo Manzitti, Daniele Sanguineti, Ginevra-Milano, 2008.
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Virgin with infant Jesus standing on her knee, stretching out His arm to St Joseph; half-length The Holy Family, with St John holding a cross
151:. The last works of Bisciano, before his young death from plague, were the three paintings preserved in the Dresden Gallery and depicting
163:. A sketch of the central part of the latter painting is preserved in M. Labò collection in Genoa and another in the National Gallery of
103:, and from roughly that year his first known work, which still finds him a clumsy and immature artist, was the canvas representing
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124:. On the other hand, the existing canvas in the Pinacoteca Civica of Savona, representing
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Virgin with infant Jesus on her knee, St. John kissing his foot and St Joseph behind
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he adopted the type of procacciniano-corrugated figure. This is also visible in his
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327:, fully digitized text from The Metropolitan Museum of Art libraries (see index)
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Camillo
Manzitti, "Per Bartolomeo Biscaino", in "Paragone", n. 253, Marzo 1971
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107:. Almost at the same time Biscaino worked on the canvases representing the
287:. Giuseppe Bottaro e Gio Battista Tiboldi Compagni. pp. 231–236.
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and in addition to the characteristic colors, which became smoky and
167:. In these works the painter could almost achieve a personal style.
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Dictionary of
Painters and Engravers, Biographical and Critical
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Virgin suckling infant with St Joseph. St. John with his lamb
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354:"- Dizionario Biografico degli Italiani - Volume 10 (1968)"
147:, preserved in the National Gallery of Palazzo Spinola in
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Soprani, Raffaello (1674). Carlo
Giuseppe Ratti (ed.).
305:Bryan, Michael (1886). Robert Edmund Graves (ed.).
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Le Vite de
Pittori, Scoltori et Architetti Genovesi
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175:He etched several plates, in a style, recalling
105:St Ferrando in the act of imploring the Virgin
99:Around 1650 Biscaino entered the workshop of
324:Genoa : drawings and prints, 1530-1800
259:St. Christopher giving hand to Infant Jesus
295:, 2nd Edition, Genoa, 1768. Pages 339-350.
35:(1632–1657) was an Italian painter of the
420:17th-century deaths from plague (disease)
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219:Virgin suckling infant, with St Joseph
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342:painting attributed to him by Bonzi
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249:Infant Jesus reposing on the globe
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264:St. Christopher with Infant Jesus
269:Mary Magdalene in desert (1656).
352:Rotondi, Giovanna Terminiello.
109:Alms of St Louis King of France
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177:Giovanni Benedetto Castiglione
68:He was the son, and pupil, of
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214:Virgin and infant with Angels
39:period, active in his native
291:Soprani and Ratti (editor),
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340:Moses Saved from the Waters
244:Repose in Egypt with Angels
130:Moses Saved from the Waters
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254:St. Joseph with the Infant
157:Presentation at the Temple
153:Christ and the Adulteress
415:Italian Baroque painters
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189:Susannah and the Elders
135:Bisciano later follows
86:Woman taken in adultery
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400:Italian male painters
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161:Adoration of the Magi
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194:Nativity with Angels
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363:14 March
358:Treccani
128:and in
37:Baroque
141:sfatti
118:Rubens
92:, and
78:plague
171:Works
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365:2018
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