523:
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from the 1460s to the 1480s, he was the dominant influence on
Lombard art, and contemporary documents testify to his highly esteemed reputation amongst both his patrons and the rest of the artistic community. Foppa was confident in his merit and ability to receive commissions, as he often left cities with jobs unfinished to pursue work elsewhere that he found more interesting or more lucrative. There is evidence showing that at times he had to be exhorted or pressured to complete more trivial works that did not interest him. There are multiple artists who exhibit significant influence by Foppa, including
441:
568:
252:
332:
417:. The rainbow decoration of the ribbed dome likely represents a "Beatific Vision" of arrival in paradise, with the rainbow signifying God and implying Portinari's piety. The frescoes in the Chapel display an advanced and creative use of perspective by Foppa, featuring vanishing points outside of the composition. Combined with his use of light and placement of the scenes in everyday settings, this "Lombard perspective" makes the scenes come to life.
31:
537:. His human figures are typically shown with a silvery-grey skin tone, a feature that has become the identifying quality of the Lombard school. This colouration gives the subjects an almost morbid appearance. Foppa was celebrated for his use of perspective, light and colouration. While contemporary documents label Foppa as an architect as well as painter, there are no known buildings or structures that he designed. In his
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319:. Foppa had gone to Genoa in 1461 to evade the plague present in Pavia at the time, returning to Pavia in 1462 with only the ceiling completed. He eventually returned to complete the Chapel in 1471, though all of his work there was lost in the 16th century. In the following year, Foppa painted a number of works that have since been lost, such as an altarpiece for the Chapel of St. Bernardino at
294:. The work also uses elements associated with the Veronese school, such as the hilly landscape and fictional city featured in the background. While the composition is nearly identical to the earlier Bellini work, Foppa's delicate colouring and advanced naturalist depiction of the three crucified men indicate his considerable talent, even at such an early stage of his career.
559:
far into other subject matters, although due to his dependence on commissions, this may not have been a personal choice. However, this limited scope is likely biased due to which works have survived the centuries, as many of his fresco cycles have been lost to history, and most surviving works are small devotional pieces or altarpiece panels.
303:
Pavia was more developed than that in
Brescia, although less so than in Milan thanks to the leadership of Michelino da Besozzo. At some point, Foppa was contracted by the Sforza family to work in Pavia. This arrangement was likely facilitated by Bartolomeo Gadio, overseer in chief for the Duke, and Foppa likely worked first on the
468:
completed several ecclesiastical works during the latter part of the decade, including a number of works featuring the Virgin and Child. Foppa became renowned for these Virgin and Child works, which he continued to produce in the 1480s and for the rest of his career. Many of these pieces are nearly identically composed:
302:
By 1456, Vincenzo Foppa was working independently as an artist and had likely moved to Pavia, where he was living by 1458 at the latest. By this time, he had married a fellow
Brescian by the name of Caylina, the daughter of Caterina de Bolis of Cremona, and had children with her. The art community in
558:
were located in the piece, painting them over the gold, and then scraping off paint to give their crowns and other adornments a genuine golden sheen. The vast majority of Foppa's known works are religious in subject, with a particular focus on paintings of the Virgin with Child. He did not venture
595:
in Milan in 1482. Leonardo's massive persona and artistic influence diluted the importance of Foppa's style. His perception in modern times is also damaged by the sheer volume of his work that has been lost. While he was a prolific painter during his career, relatively few pieces painted by Foppa
578:
Foppa was renowned as the greatest painter of his era in
Lombardy and is considered the founder of the Early Lombard School. While art communities existed in Pavia and Milan before his arrival, it was his work that gave Lombard art an identity and a renewed vitality. During the peak of his career
467:
and
Bonifacio Bembo on an ambitious altarpiece for the Castello of Pavia, but work on the project was halted when Galeazzo Sforza was murdered in 1476. Some surviving panels have been speculated to be part of this Castello project. The trio also worked on various other commissions in Pavia. Foppa
432:
Foppa returned to
Brescia to paint an altarpiece for the Church of Saint Maria Maddalena in 1472 but had returned to Milan by 1473. Several surviving Madonnas were likely completed around this period, or at some point in the 1460s. Some of these paintings are made to look almost like reliefs or
357:, who later honoured Vincenzo Foppa as one of the greatest painters of the era. Foppa was the only painter of Lombardy to receive this distinction. Following this, Foppa painted a series of frescoes to decorate the Medici Bank of Milan, a palazzo building gifted by Francesco Sforza to
428:
in 1466 and making him a member of the ducal household in 1468. Upon a request from Foppa in 1468, the new Duke granted him citizenship in Pavia and safe conduct for six years, allowing the painter to move about
Milanese territorial holdings without tolls or taxes.
509:, a recurring patron of Foppa during his time spent in Savona. In 1490, Foppa was granted a yearly allowance of 100 lire by Brescia in exchange for continued artistic contributions to the city, marking his return home. In the same year, he frescoed the central
500:
By 1489, Foppa was back in
Liguria, completing a since-destroyed altarpiece for the Doria Chapel of the Certosa di Rivarola near Genoa in February. The following year Foppa completed another altarpiece, this one for the oratory of Santa Maria di Castello in
513:
of the town. He continued to work painting numerous devotional works during his remaining years, which he spent largely in his native
Brescia as well as Pavia. His latest known work is dated 1514, and he is believed to have died in 1515 or 1516 in Brescia.
206:. At the time, there were few esteemed painters in the region, and the art scene in Brescia was lacking. It is therefore likely that Foppa had to seek artistic training elsewhere. Some of his earliest exposures to art were likely frescoes painted by
365:
for which a provisional sketch still exists) and a portrait of
Francesco Sforza and his family. The only surviving fresco from this building features a small boy reading, with the name Cicero engraved on the bench behind him. This work, titled
1074:"Foppa Vincenzo, Madonna con Bambino in trono tra san Matteo, san Giovanni Battista, santo Stefano, san Girolamo, il beato Domenico di Catalogna, la beata Sibillina da Pavia, Matteo Bottigella e Bianca Visconti"
361:. His work there began in 1464, overseen by the representative of the Medici Bank in Milan Pigello Portinari, and was completed by 1467. The frescoes included a series of eight Roman emperors (including one of
835:
169:
period. While few of his works survive, he was an esteemed and influential painter during his time and is considered the preeminent leader of the Early Lombard School. He spent his career working for the
270:. However, the piece also has unique aspects indicative of the artist's personal touch, such as the greyish skin tone, which would become a defining aspect of the Lombard school. However, the figures in
266:. Compositionally, this painting is reminiscent of the Veronese style due to its Gothic appearance, contributing to speculation that Foppa was trained in Verona, possibly by Stefano or
290:. The painting is exceedingly similar to a Jacopo Bellini work of the same name, lending credibility to the notion that Foppa may have spent time training with Bellini in
218:. The latter artist was one of the strongest influences on him, and it is possible that Foppa was directly apprenticed to Bellini. He also may have been apprenticed to
965:
Jones, Howard; Kilpatrick, Ross (2007). "Cicero, Plutarch, and Vincenzo Foppa: Rethinking the Medici Bank Fresco (London, the Wallace Collection, Inv. P 538)".
476:
in front of a curtain, landscape, or other similar background. Vincenzo did a number of works for Santa Maria di Brera in Milan, including a polyptych titled
282:
in 1456. This work marked a significant step forward for Vincenzo, as his representation of humans matured considerably between the completion of the
349:
In 1463, Foppa was called to Milan by Francesco Sforza to work on various projects. The first of these was a fresco for the portico of the new
311:. Vincenzo received an effusively praiseful letter of recommendation from Sforza which enabled him to receive patronage from the Doge of
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619:
405:, and for a time held those of Portinari himself. While it is not certain that Foppa painted the Chapel himself, the fresco cycle
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are not nearly as lifelike as those featured in the painter's later works. The next work known to be by Foppa's hand is his
488:, a subject whom Foppa painted several times during the decade. By 1486, Foppa had completed the Bottigella Altarpiece in
1038:
Urry, Serena (2004). "Technical Findings in Vincenzo Foppa's: Adoration of the Child with Saint Benedict and Angels".
353:, depicting the Sforza family ceremonially laying the first stone for the hospital. The architect of the hospital was
307:. While it is unclear what works Foppa was specifically enlisted for, he clearly made a strong impression on Duke
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and frescoes from the life of the Blessed Isnardo of Vicenza in the Dominican Church of St. Tommaso at Pavia.
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and the priors of the confraternity of St. John for frescoes in the Chapel of St. John the Baptist in the
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continued his family's close relationship with Foppa, first commissioning an altarpiece at
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or paste-work, to provide the work with depth and brightness. He accomplished this by the
492:, which depicted Silvestro Bottigella and his wife genuflect in front of the Virgin Mary.
8:
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378:. The subject of the painting has been debated by historians, with suggestions including
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140:
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1098:
Dunkerton, Jill; Plazzotta, Carol (2001). "Vincenzo Foppa's 'Adoration of the Kings'".
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370:, is the only known secular work by Foppa that survives today and is located at the
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1019:
Bernstein, J. Gitlin (1981). "Science and Eschatology in the Portinari Chapel".
202:
Very little is known about the early life and training of Foppa. He was born in
947:
215:
1135:
813:
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859:
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In 1468, Foppa was again commissioned by Pigello Portinari to decorate the
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1000:
Waterhouse, E.K. (1950). "The Fresco by Foppa in the Wallace Collection".
166:
1051:
591:. His long-term influence was somewhat diminished due to the arrival of
978:
541:, likely painted around the turn of the 16th century, the artist used
409:
is commonly attributed to him. His work in the Chapel also includes a
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543:
482:
Virgin and Child with Saints John the Baptist and John the Evangelist
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320:
231:
30:
222:. Some historians suggest that Foppa may have had early training in
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383:
354:
183:
1117:
Welch, Evelyn Samuels (1985). "New Documents for Vincenzo Foppa".
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dated 1485. At Santa Maria di Brera he also completed a fresco of
230:, though his earliest works are more stylistically reminiscent of
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67:
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Foppa's style was heavily influenced by Bellini, Pisanello, and
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and Gentile da Fabriano. It is most likely that Foppa went to
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106:
95:
71:
786:
St. Francis receiving the stigmata and St. Giovanni Battista
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sculptures, exhibiting the influence that sculptors such as
812:, c.1490, Oratory of Our Lady of the Castle, Savona, with
952:
Vincenzo Foppa of Brescia, Founder of the Lombard School
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method, laying gold leaf under the area where the three
788:, 1488–1489, Milan, Pinacoteca del Castello Sforzesco
740:, 1465–1470, Milan, Pinacoteca del Castello Sforzesco
734:, 1465–1470, Milan, Pinacoteca del Castello Sforzesco
640:, 1460–1468, Milan, Pinacoteca del Castello Sforzesco
1097:
843:, c.1485, Milan, Pinacoteca del Castello Sforzesco
763:, Carmelite Church of Santa Maria, Averoldi chapel
1133:
967:International Journal of the Classical Tradition
946:
210:in the Broletto Chapel in Brescia and the woven
964:
262:The earliest known work attributed to Foppa is
420:After the death of his father Francesco, Duke
182:, as well as various other patrons throughout
16:Italian painter (c. 1427–1430 – c. 1515–1516)
836:Chiesa di Santa Maria Assunta di Chiesanuova
999:
401:in Milan. The Chapel holds the remains of
29:
1040:Bulletin of the Detroit Institute of Arts
1018:
480:finished around 1476 and a fresco titled
692:Scenes from the Life of St. Peter Martyr
566:
521:
439:
330:
250:
608:, c.1450, Florence, Berenson Collection
1134:
891:Altarpiece of Santa Maria delle Grazie
1116:
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847:Portrait of Giovanni Francesco Brivio
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190:. He lived and worked in his native
1100:National Gallery Technical Bulletin
596:have survived into the modern era.
13:
713:Martyrdom of Saint Peter of Verona
529:(c.1500), National Gallery, London
297:
165:) was an Italian painter from the
14:
1188:
915:
463:In 1474, Foppa collaborated with
272:The Madonna and Child with Angels
264:The Madonna and Child with Angels
954:. London: Lane. p. 282-283.
801:Madonna and Child in a Landscape
599:
505:. This work was commissioned by
775:Bottigella Altarpiece, c.1486,
767:Madonna and Child with an Angel
413:cycle, busts of saints, and an
1110:
1091:
1078:Fondazione Federico Zeri Unibo
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1031:
1012:
993:
958:
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246:
1:
1177:16th-century Italian painters
1172:15th-century Italian painters
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656:
606:Madonna and Child with Angels
448:
345:), Wallace Collection, London
339:
197:
159:
152:
82:
59:
40:
1142:Italian Renaissance painters
950:; Maiocchi, Rodolfo (1909).
856:Portrait of an Old Gentleman
703:Miracle of the False Madonna
478:Virgin and Child with Saints
445:Virgin and Child with Saints
403:Saint Peter Martyr of Verona
7:
10:
1193:
864:Philadelphia Museum of Art
841:Martyrdom of St. Sebastian
805:Philadelphia Museum of Art
674:Basilica of Sant'Eustorgio
572:Martyrdom of St. Sebastian
884:, 1495–1500, Washington,
562:
382:(grandson of Francesco),
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136:
112:
102:
78:
51:
28:
21:
803:, c.1490, Philadelphia,
725:Assumption of the Virgin
517:
458:
407:Life of St. Peter Martyr
368:The Young Cicero Reading
326:
194:during his later years.
127:The Young Cicero Reading
1119:The Burlington Magazine
1002:The Burlington Magazine
886:National Gallery of Art
882:San Bernardino of Siena
877:National Gallery of Art
769:, 1479–1480, Florence,
948:Ffoulkes, Constance J.
575:
574:(c.1485), Brera, Milan
539:Adoration of the Kings
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527:Adoration of the Kings
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346:
259:
131:Adoration of the Kings
1167:Italian male painters
1152:Quattrocento painters
1147:Painters from Brescia
900:Adoration of the Magi
680:Doctors of the Church
646:, 1460–1470, Berlin,
570:
525:
507:Giuliano della Rovere
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422:Galeazzo Maria Sforza
411:Doctors of the Church
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254:
893:, 1500–1510, Milan,
869:St. Anthony of Padua
821:, 1490–1495, Milan,
672:, 1464–1468, Milan,
380:Gian Galeazzo Sforza
268:Michelino da Besozzo
228:Francesco Squarcione
1052:10.1086/DIA41504982
895:Pinacoteca di Brera
851:Museo Poldi Pezzoli
823:Museo Poldi Pezzoli
796:Pinacoteca di Brera
638:Madonna of the Book
625:St. Jerome Penitent
585:Ambrogio Bergognone
490:Pavia Civic Museums
208:Gentile da Fabriano
141:Italian Renaissance
979:10.1007/BF02856419
902:, c.1500, London,
664:Wallace Collection
653:Boy Reading Cicero
581:Vincenzo Civerchio
576:
531:
456:
372:Wallace Collection
347:
336:Boy Reading Cicero
317:Cathedral of Genoa
260:
238:for his training.
37:Virgin of the Book
828:Madonna and Child
819:Madonna and Child
794:, c.1489, Milan,
752:Denver Art Museum
648:Staatliche Museen
644:Madonna and Child
633:Accademia Carrara
620:Accademia Carrara
593:Leonardo da Vinci
589:Girolamo Romanino
472:holding the baby
359:Cosimo de' Medici
351:Ospedale Maggiore
305:Castello of Pavia
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668:Frescoes of the
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386:' grandson, and
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744:St. Christopher
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465:Zanetto Bugatto
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1162:1510s deaths
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1081:. Retrieved
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510:
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481:
477:
462:
444:
431:
419:
415:Annunciation
414:
410:
406:
392:
367:
348:
335:
301:
287:
283:
275:
271:
263:
261:
255:
212:Annunciation
211:
201:
148:
147:
130:
126:
118:
114:Notable work
88:(aged 84–89)
36:
1083:7 September
757:Evangelists
660: 1464
612:Crucifixion
496:Later years
452: 1476
343: 1464
288:Crucifixion
276:Crucifixion
256:Crucifixion
247:Early works
167:Renaissance
119:Crucifixion
103:Nationality
44: 1475
1136:Categories
910:References
873:Washington
810:Altarpiece
746:, c.1470,
662:, London,
627:, c.1460,
198:Early life
1060:192791323
987:154761413
551:sgraffito
544:pastiglia
435:Donatello
390:himself.
321:Morimondo
232:Pisanello
1106:: 18–28.
830:, 1492,
759:, 1477,
694: :
614:, 1456,
535:Mantegna
511:Loggetta
384:Augustus
355:Filarete
286:and the
184:Lombardy
137:Movement
832:Brescia
761:Brescia
629:Bergamo
616:Bergamo
284:Madonna
280:Bergamo
204:Brescia
192:Brescia
188:Liguria
107:Italian
92:Brescia
68:Brescia
46:, Milan
1058:
985:
771:Uffizi
748:Denver
684:Eight
587:, and
563:Legacy
503:Savona
388:Cicero
376:London
363:Trajan
292:Venice
258:(1456)
242:Career
236:Verona
172:Sforza
1056:S2CID
983:S2CID
777:Pavia
690:Four
678:Four
518:Style
474:Jesus
459:Pavia
426:Monza
327:Milan
313:Genoa
226:with
224:Padua
180:Pavia
178:, in
176:Milan
96:Italy
72:Italy
1085:2022
556:Magi
470:Mary
186:and
79:Died
52:Born
1123:127
1048:doi
975:doi
397:at
374:in
214:by
1138::
1121:.
1104:22
1102:.
1076:.
1054:.
1044:78
1042:.
1025:26
1023:.
1006:92
1004:.
981:.
971:13
969:.
917:^
875:,
862:,
834:,
779:,
750:,
657:c.
655:,
631:,
618:,
583:,
449:c.
437:.
340:c.
160:c.
158:–
153:c.
94:,
83:c.
70:,
60:c.
41:c.
1087:.
1062:.
1050::
989:.
977::
546:,
454:)
447:(
338:(
151:(
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