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Marciale, MarcoDate of birth and death: active 1492/93 - 1507
Nationality: ItalianUploaded artworks: 3
Marco Marziale was an Italian painter from Venice. He was a pupil of Giovanni Bellini, as stated in some of his inscriptions signing works, and was also influenced by Giovanni's bother Gentile, with possibly some elements of the style of Perugino also. From January 1493 when he must have at least completed his training, he was employed by the Republic of Venice as an assistant to Giovanni Bellini on the Great Council Chamber in the Doge's Palace at a fairly modest salary. These paintings were all lost in the great fire of 1574. In 1493 he joined the confraternity of the Scuola di San Marco.
In about 1500 he may have moved to Cremona, which Venice had just taken over in 1499, and which it held until 1509, when the Duchy of Milan recaptured the city. Marziale would no doubt have been unwelcome after this, if he was in the city. He is not documented there, but painted two altarpieces for Cremonese churches; it is possible these were sent from Venice, although the records of the scuola show him as absent from the city in 1505.
Several signed works are known, including the only two large altarpieces, both from churches in Cremona and now in the National Gallery, London. Two versions of the Supper at Emmaus, adapted from a lost work by Giovanni Bellini known from a print, are in the GemĂ¤ldegalerie, Berlin and the Accademia in Venice, where there is also a Circumcision of Jesus in the Museo Correr, dated 1499. Including unsigned attributed works, there is a probable surviving oeuvre of about a dozen paintings; apart from the wall-paintings lost in 1574, much of his painting may be among the large number of pieces assigned to the workshop of Giovanni Bellini. A small Adoration of the Magi, formerly in the Virginia Museum of Fine Arts, and only just attributed as an early work of Marziale's.
He was a rather conservative painter, whose works continued to follow compositional formats from the late 15th century, despite his possibly being only a few years older than Giorgione and Titian. Although his figures are stiff, even "wooden"he takes great interest in textiles and decor in his works. Both the London altarpieces are set in spaces in front of apses decorated with gold mosaics in the manner of San Marco, Venice, and also of altarpieces by Giovanni Bellini. The Circumcision altarpiece features several donor portraits of the family of Tommaso Raimondi, the lawyer and poet who commissioned the work; their lavish and fashionable clothes are carefully depicted.
In Cremona he influenced, and may have trained, Altobello Melone.
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