Dosso Dossi

Dosso Dossi, real name Giovanni di Niccolò de Luteri (San Giovanni del Dosso, 1474 – Ferrara, 1542), was an Italian Renaissance painter who belonged to the Ferrara School of Painting.

He was the main actor in the Este’s Early Courthouse in the early sixteenth century, the era of Ariosto, whose fantastic evocations was a striking interpreter Some of his mythical motifs were still inspiration for the Emilian painters of the early seventeenth century as Annibale Carracci

The biographical data on the artist is scarce We know exactly where the birth was born but not the year The father was originally from Trentino and was a member of the estuary court of Ferrara In 1485 it was established that the family lived in Dosso della Scaffa (today San Giovanni del Dosso) As the father became the owner of the small farm of Dosso della Scaffa, he conveyed to his sons the name of the patron saint of the country: John and Baptist

In his training, Dosso did not directly touch the prestigious 14th-century Ferrara school but was influenced only after having learned the secrets of Venetian painters, particularly Giorgione. These basic teachings then added to classical culture and Raffaello, as well as his own Well-developed narrative attitude

In 1510 he was in Mantova at the service of the Gonzaga, and in 1514 he was appointed a court painter in Ferrara. In that role he was involved in the main decorative firms of Alfonso d’Este, such as the Alabaster Camerini. In fact he is attributed to the choreography General decorative apparatus, including Giovanni Bellini and Titian from Venice, as well as the realization of some paintings, including the Triumph of Bacco in India for which Raffaello had provided the designs without however being able to paint it for the sudden disappearance In Dosso they also painted the canvases that decorated the ceilings and many minor decorations. As it is well known, the Camerini complex was dismantled with the devolution of Ferrara to the Pontifical State in 1598 and the paintings were dispersed. The Dosso ones finally ended in part at the Galleria Estense di Modena Per This city built between 1518 and 1521 a shovel for the San Sebastian altar in the cathedral commissioned by the Confrater From the Communion Hall of the Pretti

With frequent travels (Florence, Rome and especially Venice), Dosso was kept up to date with the latest novelties of the neuralgic artistic centers of the peninsula, starting in particular a fruitful dialogue with Titian, from which he resumed the chromatic richness and wide openings. Art does not have strong stylistic wastes between the various phases, but rather the use of different registers depending on the subject: monumental for the altarpiece, more fluid and inventive for the literary and mythological subjects, which are still The part of his production more appreciated by critics For a period he was in touch with Michelangelo, painting massive nude virile

By 1530, for the Della Rovere, he painted the Imperial Villa of Pesaro In 1531 the Prince Bishop of Trento Bernardo Cles requested Alfonso d’Este the activity of Dosso, which for more than a year waited for the fresco decoration of about twenty Environments of the Castle of Buonconsiglio, where he worked alongside the Romanino

In recent years, he emphasized the contrasts of chiaroscuro and symbolic references in works

He was the older brother of Battista Dossi, another active painter at the Ferrara court

Selected Works:
Holy Family with Donors (1514, Philadelphia Museum of Art)
Aeneas in the Elysian Fields, (1518–1521, National Gallery of Canada, Ottawa)
The Virgin Appearing to Sts John the Baptist and John the Evangelist (1520s, Uffizi Gallery, Florence)
Jupiter, Mercury and the Virtue, (1524, Wawel Castle, Kraków)
Mythological Scene, c.1524; oil on canvas, 164 x 145 cm, J. Paul Getty Museum, Los Angeles
Allegory of Fortune, c.1530; oil on canvas, 178 x 216.5 cm, J. Paul Getty Museum, Los Angeles
Three Ages of Man or Rustic Idyll; 77.5 x 11.8 cm, Metropolitan Museum of Art
Aeneas, Barber Institute, Birmingham
Hercules and the Pygmies Alte Galerie of the Joanneum Graz
Tubalcain (Allegory of Music) Museo Horne
Witchraft Stregoneria (Choice of Hercules between Vice and Virtue) Galleria degli Uffizi
Saint Michael (Staatliche Kunstsammlungen, Dresden)
Saint George and the Dragon (Staatliche Kunstsammlungen, Dresden)
Portrait of a Warrior, Uffizi Gallery, Florence
Portrait of a Youth, portrait of Lucrezia Borgia, National Gallery of Victoria