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JACOPO PALMA (c. 1480-1528) , See also: Italian painter of the Venetian school, was See also: born at Serinalta near See also: Bergamo, towards 1480, and died at the age of See also: forty-eight in See also: July 1528
.
He is currently named Palma Vecchio (Old Palma) to distinguish him from Palma Giovane, his See also: grand-See also: nephew, a much inferior painter
.
His grandfather's name was Negretto
.
He is reputed to have been a companion and competitor of Lorenzo Lotto, and to some extent a pupil of See also: Titian, after arriving in Venice early in the
16th century; he may also have been the master of Bonifazio
.
His earlier See also: works betray the influence of the Bellini; but modifying his See also: style from the study of See also: Giorgione and Titian, Palma took high See also: rank among those painters of the distinctively Venetian type who remain a little below the leading masters
.
For richness of colour he is hardly to be surpassed; but neither in invention nor vigorous draughtsmanship does he often attain any See also: peculiar excellence
.
A face frequently seen in his pictures is that of his (so-called) daughter Violante, of whom Titian was said to be enamoured
.
Two works by, Palma are more particularly celebrated
.
The first is a composition of six paintings in the Venetian See also: church of S
.
Maria
See also: Formosa, with St See also: Barbara in the centre, under the dead Christ, and to right and See also: left SS
.
See also: Dominic, See also: Sebastian, See also: John Baptist and Anthony
.
The second
See also: work is in the See also: Dresden Gallery, representing three sisters seated in the open air; it is frequently named " The Three Graces." A third See also: fine work, discovered in Venice in r9oe), is a portrait supposed to represent Violante
.
Other leading examples are: the " Last Supper," in S . Maria Mater Domini; a " Madonna," in the church of S . Stefano in See also: Vicenza; the " See also: Epiphany," in the Brera of Milan; the " See also: Holy See also: Family, with a See also: young shepherd adoring," in the Louvre; " St See also: Stephen and other See also: Saints," " Christ and the Widow of Nain," and the " See also: Assumption of the Virgin," in the See also: Academy of Venice; and "Christ at See also: Emmaus," in the Pitti Gallery
.
The beautiful portrait of the See also: National Gallery, See also: London, with a back-ground of foliage, originally described as " Ariosto•" and as by Titian, and now reascribed to that master, was for some years assumed to be an unknown poet by Palma Vecchio
.
It is certainly much more like the work of Titian than of Palma
.
In 1907 the'Staedel Institute in See also: Frankfort acquired an important work by Palma Vecchio, identified by its director as an See also: illustration of Ovid's second See also: Metamorphosis, and named " See also: Jupiter and Calisto."
Palma's grand-nephew, Palma Giovane, was also named Jacopo (1544 to about 1626)
.
His works belong to the decline of Venetian See also: art
.
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