GIOVANNI GIROLAMO SAVOLDO
Brescia circa 1480-Venice or Brescia 1548
Savoldo was among the leading masters of the Veneto-
Lombard school that included Moretto da Brescia and
Girolamo Romanino. He matriculated into the Floren-
tine painters' guild in 1508, although no works by him
can be connected with this period in his career. Savoldo
returned to Brescia by 1514 , dividing his career between
his native city and Venice, where he moved in 1521. He
probably worked in Milan sometime between 1530 and
1532, when he enjoyed the patronage of Duke Francesco
II Sforza. His work from these years reflects the descrip-
tive realism characteristic of Lombard painting, espe-
cially in rendering landscape and light effects, as can be
seen in the Prophet Elijah (Washington, D.C., National
Gallery of Art). Single figure paintings like the Shepherd
with Flute (Malibu, J. Paul Getty Museum) and the Mag-
dalen (after 1540; London, National Gallery) recall the vi-
sual poetry of Giorgione and continue the Venetian tra-
dition of vivid chromatic and textural effects. Savoldo's
penetrating, naturalistic portrayals of figures attracted
artists of later generations including Caravaggio.
HANS SCHAUFELEIN
Nuremberg circa 1480/85-Nordlingen 1540
Most probably born in Nuremberg to a family originally
from Nordlingen, Schaufelein entered Durer's work-
shop about 1503. During Durer's second trip to Venice in
1505-1507, Schaufelein painted the Ober-Sankt-Veit Al-
tarpiece (Vienna, Dom- und Diozesanmuseum), which
he based on Durer's drawings, for the Schlosskirche at
Wittenberg. He also executed most of the woodcuts for
Ulrich Pindar's Speculum passionis of 1507, a collection of
New Testament passages and texts by the Church fa-
thers. Leaving Durer's shop around 1506/07, Schaufelein
may have passed through Augsburg; he traveled in I5O9/
10 to the Tyrol, where he painted the wings of an altar-
piece in Niederlana near Merano. Between 1510 and 1515
he was in Augsburg, where he contributed to the Theuer-
dank and the Weisskunig, woodcut projects sponsored by
Emperor Maximilian I. In 1515 Schaufelein settled per-
manently in Nordlingen, where he was appointed city
painter. Works executed there include the mural painting
of the battle of Betulia (1515) for the city hall, as well as
many portraits and prints.
SEBASTIANO DEL PIOMBO
Venice circa 1485-Rome 1547
Sebastiano first studied with Giovanni Bellini and then
with Giorgione. The experience of the latter's work was
seminal for Sebastiano s Venetian period, and their paint-ings are similar in style and feeling. The tonal rendering
and contemplative attitudes of the Four Saints painted on
the organ shutters for San Bartolommeo a Rialto, Ven-
ice, are typical of this phase of his work. In 1511 Agostino
Chigi invited Sebastiano to Rome to participate in the
fresco decoration of his Villa Farnesina, where Peruzzi
was already at work. The very different artistic environ-
ment Sebastiano encountered in Rome exerted a pro-
found influence over his artistic development. He was
attracted to the work of Raphael, but—more impor-
tantly—to that of Michelangelo, who became his close
friend and supplied him with designs for paintings. In the
Pieta (1517; Viterbo, Museo Civico) and the Raising of
Lazarus (1517-1519; London, National Gallery), Sebas-
tiano introduced bold, monumental forms and some-
what subordinated the role of color. Except for a brief
visit to Venice in 1528-1529, he remained in Rome,
where, following the death of Raphael in 1520, he be-
came the city's leading painter.HENDRICK VAN STEENWIJCK THE
YOUNGER
Active by circa 1603 -The Hague (?) 1649
The son and probably pupil of the painter of architecture
Hendrick van Steenwijck the Elder, Hendrick the
Younger's early style—as seen in Interior of a Gothic
Church Looking East (1603; London, National Gallery)—
was close to that of his father. In 1617 Steenwijck settled
in London, where he probably remained until after 163 7.
By 1645 he was in Holland, as his portrait appears in the
1645 edition of van Dyck's Iconography; there he is de-
scribed as a painter of architectural subjects in The
Hague. He must have died in 1649, since there is mention
of his widow having been in Leiden in that year. Steen-
wijck most frequently depicted Gothic church interiors,
palace terraces, and prison interiors, the latter often
showing the freeing of Saint Peter.PIETER STEVENS
Mechelen (Malines) circa 1567-Prague after 1624
Stevens, who may have trained in Antwerp, became a
master there in 1589. In 1590/91 he visited Italy, making
drawings of sites in Rome, Tivoli, and Naples. Stevens'
early graphic style shows the influence of Netherlandish
artists in Rome such as Hendrick van Cleef and Paul Bril.
Stevens was in Prague by 1594, when he was named
court painter to Emperor Rudolf II. He is recorded
among the court artists until 1600, and probably re-
mained in imperial service until after Rudolf's death in
1612, inspiring several generations of painters in Prague.
Paintings dating to his years in that city include render-ARTISTS BIOGRAPHIES 353