Prayerbook of Emperor Maximilian of 1515 (Besançon,
Bibliothèque), frescoes for the Augsburg town hall (de-
stroyed), and organ shutters depicting the ascensions of
Christ and the Virgin for the Fugger chapel in the church
of Saint Anne, Augsburg, made during the 15205. From
1504 on, Breu was a prolific designer of woodcuts. He
also made many drawings for cycles of stained-glass
windows, usually with secular themes. In 1524 he be-
came a proponent of the Reformation, after which his
production decreased. His son Jôrg the Younger even-
tually took over his shop.AGNOLO BRONZINO
Monticelli 1503-Florence 1572
Bronzino, one of the most important of the Florentine
Mannerists, received his earliest training from Raffael-
lino del Garbo. However, his work atjacopo Pontormo's
side had a much stronger effect on the development of
his style. During the 15205 he assisted Pontormo with
several commissions, including those at the Certosa of
Galluzzo and at Santa Felicita, Florence. Bronzino be-
came a favorite artist of the Medici court. A chapel in the
Palazzo Vecchio, painted by him in the 15405 for the wife
of Cosimo I de' Medici, is one of his many medicean
commissions. Bronzino also painted allegorical and
mythological pictures, including the celebrated Allegory
of Venus and Cupid of circa 1545 (National Gallery). Some
of his best-known paintings are his portraits of the Italian
aristocracy, such as Portrait of Ludovico Capponi of circa
1550-5 5 (Frick Collection), in which he combined an
acute sense of observation with a cool, detached ap-
proach. One of Bronzino's final paintings is a large
fresco, the Martyrdom of Saint Lawrence, in the church of
San Lorenzo, Florence, which he completed three years
before his death.THEODOR DE BRY
Liège i528-Frankfurt-am-Main 1598
Born into a wealthy Protestant family, de Bry fled the
Netherlands circa 1570 due to religious persecution. He
moved to Frankfurt, where he opened a publishing busi-
ness, which his sons, Johan Israel and Johan Theodor,
later joined. Like many Netherlandish expatriates of the
period, de Bry had contacts in England, which he visited
in 1587. Besides book illustrations, he produced a large
number of prints, in particular designs for goldsmith
work. His major publications include Collectiones pere-
grinationum emblemata saecularia (begun 1590), the deco-
rated alphabet entitled Nova alphati effictio (1595), and
Jean-Jacques Boissard's Icones quinquaginta virorum illus-
trium, published in four parts between 1597 and 1599; the
latter contained portraits of many of the humanist lu-
minaries of the era. In 1597, one year before his death, he
issued an engraved self-portrait that is inscribed with the
year of his birth.DOMENICO CAMPAGNOLA
Padua 1500-1564
Campagnola took his name from his artistic mentor,
Giulio Campagnola, to whom he was apprenticed circa- He is known best as a follower of Titian, although
he probably never formally studied with the master.
Campagnola's earliest known works, from 1517, are en-
gravings. The influence of Titian is apparent in paintings
such as the Meeting of Joachim and Anna of 1525 (Padua,
Scuola del Carmine). In 1531 Campagnola was commis-
sioned to paint the ceiling of the oratory of the Confra-
ternity of Santa Maria del Parto, Padua, with an elaborate
program (destroyed). Also in 1531 he painted ceiling
tondi of the prophets (Accademia) for the church of
Santa Maria de' Servi, Padua. His last important work is
the Christ Enthroned with the Podestà Cavalli of 1562
(Padua, Santa Giustina). Domenico's drawings are rec-
ognizable by a characteristic vigorous cross-hatching,
which closely follow the pen style of Titian's drawings.
CANALETTO (Giovanni Antonio Canal)
Venice 1697-1768
Canaletto learned the rudiments of painting from his fa-
ther, a painter of theatrical scenery, with whom he trav-
eled to Rome briefly in 1719. In Venice Canaletto was in-
fluenced by the paintings of Luca Carlevaris. He became,
along with Francesco Guardi, one of the most important
view painters of the eighteenth century. One of Cana-
letto's earliest view paintings is Piazza San Marco of circa
1723 (Lugano, Thyssen-Bornemisza Foundation). The
majority of his works painted in Venice during the 17305
were purchased by Englishmen by way of his patron and
agent, Joseph Smith. Among these is a celebrated paint-
ing, The Stonemason's Yard of circa 1730 (National Gal-
lery). From 1746 until circa 1756, Canaletto lived in Lon-
don, where he continued to produce view paintings for
his British clientele. Masterpieces from his London so-
journ include The Thames and the City of London and Lon-
don: Whitehall and the Privy Garden from Richmond House,
both of 1747 (both Duke of Richmond and Gordon col-
lection, Goodwood), painted for the duke of Richmond.
Back in Venice, he was elected to the Accademia in 1763,
five years before his death.VITTORE CARPACCIO
Venice circa 1460/65-1525/26
Little is known about the life and artistic training of Car-ARTISTS BIOGRAPHIES 329