Giovanni Battista Lanceni: Difference between revisions
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'''Giovanni Battista Lanceni''' or '''Giambattista Lanzani''' or '''Lanzeni''' (after 1659 – 1735) was an [[Italian people|Italian]] painter and engraver<ref>[http://www.lombardiabeniculturali.it/stampe/schede/C0160-00429/?view=autori&hid=31461&offset=0&sort=sort_int Lombardia Beni Culturali], engraving of ''Massacre of the Innocents''.</ref> of the [[Baroque art|Baroque]] period active mainly in [[Verona]]. |
'''Giovanni Battista Lanceni''' or '''Giambattista Lanzani''' or '''Lanzeni''' (after 1659 – 1735) was an [[Italian people|Italian]] painter and [[engraver]]<ref>[http://www.lombardiabeniculturali.it/stampe/schede/C0160-00429/?view=autori&hid=31461&offset=0&sort=sort_int Lombardia Beni Culturali], engraving of ''Massacre of the Innocents''.</ref> of the [[Baroque art|Baroque]] period active mainly in [[Verona]]. |
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==Biography== |
==Biography== |
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Latest revision as of 20:49, 4 September 2024
Giovanni Battista Lanceni or Giambattista Lanzani or Lanzeni (after 1659 – 1735) was an Italian painter and engraver[1] of the Baroque period active mainly in Verona.
Biography
[edit]By the age of 16 years he had been placed into an apprenticeship under Andrea Voltolini in Verona, from where he moved to work under Francesco Barbieri. He painted in many churches in Verona, including San Procolo, San Zen Maggiore, San Silvestro, San Niccolò (David and the head of Goliath), and San Fermo (Supper at the House of Simon the Pharisee). His daughter (born 1698) became a nun in the monastery of Santa Caterina dalla Ruota. Because she was also a painter, she was nicknamed Suor Michelangela, and in 1718 painted a Santa Caterina debating with the Doctors of Alexandria before the Emperor Maxentius.
Giovanni Battista published in 1720 in Verona a book titled Ricreazione Pittorica in which he describes both his works and a guide to Verona.[2]
References
[edit]- ^ Lombardia Beni Culturali, engraving of Massacre of the Innocents.
- ^ Le vite dei pittori, scultori e architetti veronesi, by Diego Zannandreis, pages 332-335.
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