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After 1535, Xanto seems to have become less prolific; his works, if signed, are marked in more cursory fashion. He also had a number of associates and followers working with him regularly, basing their style on his. The last documentary record of him comes in 1541, when he is known to have taken on
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Xanto's signed works all date from between 1530 and 1542. Each bears his name and the date of the piece; many also were given ambitious tags explaining their meanings. The surviving pieces appear to be similar in nature, with the exception of the signatures, to most other maiolica ware produced in
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At around this time Xanto married a woman called
Finalissa, also in Urbino. Over the five years following he produced a large body of work; each piece was signed in various manners, and was dated and marked as a product of Urbino. Such consistency in signing his work was unusual at the time; there
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It is not certain whether or not any of Xanto's earlier work has survived, as no unambiguously signed works bearing his signature have been found dating earlier than 1530. General scholarly opinion holds that a number of works dating back to 1524 are also by his hand. No tangible evidence exists
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Urbino at the time. Xanto signed his works with a number of different variants of his own name; besides those with his full name, pieces signed
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after the labor troubles of 1530, and that his choice to sign his works might be in some way related to his difficulties.
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Francesco Xanto Avelli, "Broad-rimmed bowl with
Neptune raping Theophane; arms of Pucci with an 'ombrellino'", 1532
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Besides being a ceramicist, Xanto was also a poet; in the 1530s he wrote a sequence of
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two assistants; that year he also initialed a piece from the workshop of
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document describing attempts by a group of pottery workers, or
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These dates are put forth in the biography provided by the
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Biography from the
National Gallery of Art, Washington
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151:suggesting their point of origin, although both
155:and Urbino have been proposed by historians.
74:, c. 1487? – c. 1542?) was an Italian
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178:. An elegant fair copy survives in the
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130:is some suggestion that the artist was
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78:. He is best known for his painted
102:in 1530, when he is mentioned in a
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163:in his hand are known to exist.
221:Biography from the Getty Museum
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172:Francesco Maria I della Rovere
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261:16th-century Italian painters
251:15th-century Italian painters
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108:interlaboratores artis figuli
286:Italian Renaissance painters
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114:for the purpose of raising
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291:Italian Mannerist painters
276:16th-century Italian poets
281:16th-century male writers
90:Xanto Avelli was born in
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28:
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122:, and is further marked
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68:Francesco Xanto Avelli
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23:Francesco Xanto Avelli
256:Italian male painters
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200:J. Paul Getty Museum
140:Francesco de Silvano
110:, to form an early
246:People from Rovigo
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35:Artist's signature
271:Maiolica painters
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266:Italian potters
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180:Vatican Library
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16:Italian painter
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176:duke of Urbino
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41:Known for
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170:in praise of
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241:1540s deaths
236:1480s births
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132:blacklisted
112:trade union
230:Categories
210:References
76:ceramicist
161:fra Xanto
120:.f.X.A.R.
94:, in the
124:î Urbino
104:notarial
80:maiolica
45:maiolica
174:, then
168:sonnets
82:works.
153:Faenza
100:Urbino
96:Veneto
92:Rovigo
72:Rovigo
186:Notes
116:wages
146:Work
86:Life
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