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:: Salzillo, Francisco...



SALZILLO, Francisco
(b. 1707, Murcia, d. 1783, Murcia)

Biography
Salzillo (also spelled Zarcillo, Salsillo, or Salcillo), sculptor, a prolific creator of figures for the Holy Week procession. He is considered by some authorities to be the greatest sculptor in 18th-century Spain and by others as merely an excellent folk artist.
Growing up in provincial Murcia, he received his training from his father, a Neapolitan sculptor who had a studio that produced religious statues. He entered a Dominican monastery as a youth, but on the death of his father in 1727 he left to take charge of the family studio. Remaining in Murcia all his life, he produced an enormous number of polychrome religious figures with the assistance of his brothers and sister.
In Salzillo's work the sacred persons are highly humanized, appealing to the popular audience that demanded pathos and sentimental realism. Much of his best work is in the Salzillo Museum in Murcia.
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:: Salviati, Giuseppe...







SALVIATI, Giuseppe
(b. ca. 1520, Castelnuovo di Garfagnana, d. ca. 1575, Venezia)

Biography
Italian painter (originally Giuseppe Porta). He was apprenticed to Francesco Salviati (whose surname he took) in Rome from 1535 and apparently assisted him in the decoration of a number of façades there. The gravitas and sculptural quality of the Roman figural style are reflected in Giuseppe's later work. In 1539, with Francesco, he left Rome, stopping in Florence and Bologna, where he met Giorgio Vasari, and arriving in Venice by 11 July. Giuseppe's earliest known independent works are illustrations for Le sorti, a book on fortune-telling published by Francesco Marcolini (Venice, 1540). The frontispiece, traditionally attributed to him, is copied from an engraving by Marco Dente.
He decided to settle in Venice, and spent most of his successful career in Venice, decorating villas and palazzos, although most of his frescoes have since been lost. He contributed to the decoration in the Biblioteca Marciana, and executed a number of altarpieces that reveal the growing influence of Titian and Veronese on his originally mannerist idiom.
Salviati left in 1541, but Porta stayed on, becoming famous for his decorations on palazzo façades, none of which survive. He also decorated numerous religious buildings, painting vast ceilings of illusionistic figures. For his altarpieces, Porta adopted the traditional Venetian oil technique of modeling figures using multiple layers of paint.
In 1565 Porta returned to Rome to complete the frescoes for the Sala Regia in the Vatican, left unfinished at Salviati's death. The following year he was elected to Florence's Accademia del Disegno and completed his most important commission: a ceiling fresco in Venice's ducal palace, destroyed soon afterward. In later years, he devoted time to other interests, such as his mathematical accomplishments. He published mathematically-oriented treatises on decorative column design.
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:: Salviati, Cecchino del...



























































SALVIATI, Cecchino del
(b. 1510, Firenze, d. 1563, Roma)

Biography
Florentine Mannerist painter, a pupil of Andrea del Sarto. Originally Francesco de' Rossi, he adopted his name from his patron Cardinal Giovanni Salviati, with whom he went to Rome c. 1530 and for whom he painted the work that established his reputation there - the fresco of the Visitation (1538) in S. Giovanni Decollato. In 1539 he travelled to Venice, and from the 1540s led a restless life, working mainly in Florence and Rome, but also visiting Fontainebleau in 1556-57. He was one of the leading fresco decorators of his day, specializing in learned and elaborate multi-figure compositions, typically Mannerist in their artificiality and abstruseness, and similar in style to those of his friend Vasari (although Salviati was an artist of higher caliber). His finest works are perhaps the frescoes on the story of the ancient tyrant Furius Camillus (1543-45) in the Sala dell' Udienza of the Palazzo Vecchio, Florence, intended as an allegory of Cosimo de' Medici's reign.
Salviati also made designs for tapestries and was noted for his portraits, which were Florentine in their direct characterization but north Italian in their richness in colour.
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:: Salucci, Alessandro...


SALUCCI, Alessandro
(b. 1590, Firenze, d. 1655/60, Roma)

Biography
Italian painter, specialized in imaginary architectural perspectives and harbour views, in which the figures were executed by other artists, most notably Jan Miel and Michelangelo Cerquozzi. His pictures were praised by contemporary and near contemporary writers, and during the 17th century were popular with private collectors in both Florence and Rome. However, many of the paintings mentioned in contemporary sources remain untraced.
He is first documented in Rome in 1628, when, with Andrea Sacchi and Pietro da Cortona, he worked on the fresco decorations of the Villa Sacchetti (now Chigi), Castelfusano (near Ostia), to which he contributed personifications of the River Nile and the River Rhône. He became a member of the Accademia di San Luca in Rome in 1634, and after 1635 he was engaged on frescoes depicting sacred subjects in S Maria in Vallicella, Rome. From the mid-1630s onward Salucci collaborated with Miel on the imaginary architectural subjects for which he is best known. The two artists also collaborated between 1640 and 1645 on a series of four important Imaginary Architectural Perspectives. His most typical paintings date from c. 1650-60.

Salucci, Alessandro .
Salucci, Alessandro.
SALUCCI, Alessandro .
Salucci Alessandro .

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Salucci, Alessandro .
Alessandro SALUCCI .
SALUCCI, Alessandro .
ALESSANDRO SALUCCI
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:: Sallaert, Anthonis...



SALLAERT, Anthonis
(b. 1580/90, Bruxelles, d. 1650, Bruxelles)

Biography
Anthonis Sallaert (Sallaerts or Sallarts), Flemish painter, draughtsman and printmaker. He became a master painter in Brussels in 1613 and executed numerous commissions, mostly of a religious nature, for the Archduke Albert's court, the new Jesuit church and the town hall. He also made paintings for churches in the villages around Brussels, notably the cycle of 12 paintings depicting the History of the Church at Alsemberg for Onze-Lieve-Vrouwkerk at Alsemberg (1647-49; in situ). Secular subjects, including mythological themes, occur in his tapestry designs, such as those for the Story of Theseus (c. 1620-35), woven in the Brussels workshop of Jan Raes the Younger (fl 1628-37).
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:: Salimbeni, Ventura...


SALIMBENI, Ventura
(b. 1567, Siena, d. 1613, Siena)

Biography
Italian painter, draughstman and engraver. The son of Arcangelo Salimbeni (fl 1567–80/89) and Battista Focari, widow of Eugenio Vanni, he was first taught painting in his native Siena by his father, as was his half-brother Francesco Vanni, with whom he was often confused. Ventura possibly spent some time in northern Italy before going to Rome, where he worked from 1588, collaborating on the fresco decoration of the Biblioteca Apostolica Vaticana (the Vatican Library) during the reign of Pope Sixtus V (reg 1585–90). Salimbeni's painting during 1590–91, when he worked in Il Gesu and S Maria Maggiore, Rome, reflects the influence of the Cavaliere d'Arpino, Cherubino Alberti and Andrea Lilli. The few engravings that Salimbeni executed were made in Rome. Of these, seven survive, dated between 1589 and 1594.
In 1595 he returned to Siena where he became one of the last leaders of the Mannerist school, and completed painting cycles for Sienese churches such as Santa Trinita and Santo Spirito. He continued to create paintings for churches throughout Italy, including Assisi and Florence. For almost all of his painting cycles he first created detailed prepatory drawings.

Ventura Salimbeni .
Ventura Salimbeni.
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Ventura Salimbeni .
Ventura Salimbeni .
Ventura Salimbeni .
Salimbeni, Ventura .
Salimbeni, Ventura .
Ventura Salimbeni.
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:: Saliba, Antonio de...


SALIBA, Antonio de
(b. ca. 1466, Messina, d. ca. 1535, Messina)

Biography
Italian painter, also called Antonello da Messina, nephew of the more famous Antonello da Messina. Although Antonio was apprenticed to his cousin Jacobello d'Antonio in January 1480, his painting more closely imitates that of his uncle, Antonello da Messina. This fact, and the similarity of their names, led to the two artists being confused with each other, a situation perhaps intentionally encouraged by de Saliba who used various forms of his uncle's signature on his works. His paintings flaunt their debt to his uncle's style, incorporating elements introduced by Giovanni Bellini.
In 1497 he returned to Messina and continued to produce smaller works, still inspired by Antonello da Messina, albeit in stiffer, more popular forms (Virgin Enthroned, Castel Ursino, Catania, 1497; Polyptych, Cathedral, Taormina, 1503-04).
Antonello de Saliba
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