little of his fresco and stucco work at Fontainebleau sur-
vives, our knowledge of Primaticcio's lively and sophis-
ticated style derives mainly from his surviving drawings
and paintings such as Ulysses and Penelope (Toledo Mu-
seum of Art).GIULIO CESARE PROCACCINI
Bologna 15 74-Milan 1625
Procaccini, whose father and brothers were painters,
moved with his family to Milan in the mid-15805. Orig-
inally, he trained as a sculptor, but, following a trip to
Parma circa 1600-1602, he turned to painting. His ear-
liest pictures, including the Martyrdom ofSS. Nazaro and
Celso of 1606 (Milan, Santa Maria presso San Celso) and
the series of ten paintings for the Tribunale di Provisione
commissioned in 1605 (Castello Sforzesco), reflect a
knowledge of Parmigianino and Correggio and the in-
fluence of Procaccini's Lombard contemporaries Cerano
and Morazzone. Between 1603 and 1613 Procaccini pro-
duced a large number of devotional paintings, including
representations of the miracles of San Carlo Borromeo
for the Duomo, the Mystic Marriage of Saint Catherine
(Brera), and the Madonna with Saints (Saronno, Sanctu-
ario dei Miracoli). He worked in Modena from 1613 to
1616 and in 1618 was living in Genoa. He returned to
Milan in 1619.RAPHAEL (Raffaello Sanzio)
Urbino 1483 -Rome 1520
Raphael was the son of the painter Giovanni Santi. He
entered the Perugian workshop of Pietro Perugino circa
1495 , quickly assimilating and surpassing his master's
style. While working in Florence between 1504 and 1508,
Raphael enthusiastically embraced the examples of Leo-
nardo and Michelangelo, as can be seen in the Portrait of
Maddalena Doni of 1506 (Palazzo Pitti) and the Entomb-
ment of 1507 (Gallería Borghese). In 1508 or 1509 he
moved to Rome, where the artistic and intellectual cli-
mate offered new inspiration. Pope Julius II employed
him to decorate the Vatican Stanze, including the Stanza
della Segnatura (1509-11). Raphael continued to work at
the Vatican under Leo X in addition to accepting nu-
merous private commissions. Notable masterpieces in-
clude the Galatea fresco of 1514 (Villa Farnesina) and the
Portrait ofBaldassare Castiglione of 1515 (Louvre). He be-
came increasingly occupied with architectural projects
and in 1514 succeeded Bramante as architect of the new
Saint Peter's. Raphael's last great altarpiece, the Transfig-
uration of circa 1518 (Vatican, Pinacoteca), was made in
direct competition with Sebastiano del Piombo.
REMBRANDT VAN RIJN
Leiden 1606-Amsterdam 1669
The son of a miller, Harmen Gerritsz. van Rijn, Rem-
brandt attended Latin school and was enrolled at the uni-
versity of Leiden in 1620. In 1621 he was apprenticed to
the Leiden history painter Jacob Isaacsz. van Swanen-
burgh, and circa 1623/24 he studied in Amsterdam with
Pieter Lastman and Jacob Pynas. Circa 1625 Rembrandt
returned as an independent master to Leiden, where he
worked closely with Jan Lievens and took his first pupil,
Gerard Dou. By 1632 he had moved to Amsterdam and
completed The Anatomy Lesson of Doctor Tulp (The
Hague, Mauritshuis). During the 16305 he was a sought-
after portrait painter and produced a series of Passion pic-
tures for the stadtholder, Prince Frederick Henry. Rem-
brandt married Saskia van Uylenburgh in 1634. During
the 16305 and '405 he had many students, including Go-
vaert Flinck, Ferdinand Bol, Carel Fabritius, and Ger-
brandt van den Eeckhout. The birth of his son Titus in
1641 was followed by Saskia's death in 1642, which was
also the year the artist completed The Night Watch (Rijks-
museum). During the late 16405 Hendrickje S to Sels
came to live with him as a housekeeper. Financial diffi-
culties set in, culminating in bankruptcy in 1656 and the
auctioning of Rembrandt's possessions in 1657 and 1658.
Some of his greatest portraits date to his later years, in-
cluding the Group Portrait of the Cloth Samplers (The Synd-
ics) of 1662 (Rijksmuseum).GUIDO REÑÍ
Bologna 1575-1642
Reni was first apprenticed to the Flemish artist Denys
Calvaert; in 1594 he joined the Carracci academy. Be-
tween 1595 and 1599 he painted numerous altarpieces for
local churches, including the Madonna of the Rosary of
1596-9 8 (Bologna, Basilica di San Luca). Circa 1600 he
moved to Rome, where the powerful naturalism and dra-
matic lighting of Caravaggio briefly attracted him, as can
be seen in the Crucifixion of Saint Peter of 1605-06 (Vat-
ican, Pinacoteca). A more enduring influence was the
ideal monumental classicism of Raphael's art, as can be
seen in Reni's Aurora fresco of 1614 (Casino Rospigliosi
Pallavicini). Reni returned to Bologna in 1614 and soon
became the city's leading artist. Among his most impor-
tant works are the Pietà dei Mendicanti of 1613 -16 and the
Pala delle Peste of 1631 (both Bologna, Pinacoteca Na-
zionale). His late style is broader and looser, as can be seen
in Saint Jerome and the Angel of 1640-42 (Detroit Institute
of Arts).ARTISTS BIOGRAPHIES 343