a draughtsman, possibly earning a living selling his
drawings, which are dated from between 1607 and 1621
and are often highly finished. Neither his training nor his
place of activity are documented, and his style until about
1615 seems to have been entirely his own. It has been pos-
tulated that he made a trip to the Netherlands around
1616. Moreover, reflections of other Netherlandish art-
ists such as Abraham Bloemaert and Paulus Moreelse ap-
pear in his later oeuvre. Highly stylized, dramatic in its
use of chiaroscuro, and generally focused on figural
groups in landscapes, his work represents an original and
seemingly independent form of late Mannerism in Cen-
tral Europe.
JOACHIM ANTHONISZ. WTEWAEL
Utrecht 1566-1638
The son of a glass-painter, Wtewael was a pupil of Joos
de Beer in Utrecht. Between 1586 and 1590 he spent two
years in Padua and two years in France. In 1592 he became
a member of the Utrecht saddler's guild; in 1596 he ex-
ecuted designs for two of the windows of the Sint-Jans-
kerk in Gouda. Among the most important of the Dutch
Mannerists, Wtewael continued to work in this style
later than most other Dutch artists. His Calvinism and
fervent support of the Netherlands' struggle for inde-
pendence informs a number of his works, including his
stained-glass windows at Gouda, his Thronus justitiae en-
gravings of 1605 and 1606, and his series of allegorical
drawings of the Eighty Years War.
FEDERICO ZUCCARO
Sant'Angelo in Vado i54O/4i-Ancona 1609
Federico Zuccaro was one of the most prominent paint-
ers of the late Cinquecento and an exponent of the late
Mannerist tradition. He trained in his brother Taddeo's
Roman workshop, assisting him on such important
commissions as the decorations for the Casino of Pius IV
(1561-1563). Between 1563 and 1565 Federico worked in
Venice and Florence, returning to Rome in 1566. Taddeo
died in the same year, and Federico completed his out-
standing commissions, including the fresco cycles in the
Palazzo Farnese, Caprarola, and the Sala Regia, Vatican,
and embarked on several new projects in Rome, includ-
ing the Flagellation (1573) in the Oratorio del Gonfalone.
In 1574 Federico traveled to the Netherlands and En-
gland. By 1575 he was working in Florence on the cupola
frescoes in the Duomo. The grand narrative schemes of
The Submission of the Emperor Frederick Barbarossa to Pope
Alexander III (Venice, Palazzo Ducale, Sala del Gran
Consiglio) occupied him from 1582 on. From 1585 to
1588/89, Federico worked as court painter to Philip II ofSpain. Returning to Rome in 1590 , he was instrumental
in founding the Accademia di San Luca in 1593, and his
treatise on painting was published in Turin in 1607. His
later work reflects a keen interest i n naturalism.JACOPO ZUCCHI
Florence i54i/42-Rome circa 1590
Jacopo Zucchi trained with Giorgio Vasari and later
worked with him on several projects, including the Sala
dei Cinquecento (1563-1565) in the Palazzo Vecchio,
Florence. Zucchi was employed as Vasari's assistant in
Rome in 1567, later returning with him to Florence to
participate in the decorations of the Studiolo of Fran-
cesco I dei Medici. For the Studiolo, Zucchi painted the
Mining of Gold, a synthesis of Tuscan Mannerism and
Flemish attention to lively detail derived from Stradanus.
Zucchi moved to Rome in 1572, entering the employ of
Cardinal Ferdinando de' Medici, for whom he decorated
the Palazzo Firenze (1574-1575). In his frescoes and al-
tarpieces for Roman churches, including the Pentecost
(1576; Santo Spirito in Sassia) and the undated Birth of the
Baptist (San Giovanni Decollate), he adopted a simple,
more pious manner following the dictates of the
Counter-Reformation. However, his preference for ex-
quisite, precious detail and fantastic compositions is best
represented in three small paintings of around 1580 in the
Uffizi, Florence: the Age of Gold, the Age of Silver, and
the Age of Iron.356 ARTISTS' BIOGRAPHIES