the church of the Cordeliers. He is also known to have
painted landscapes, portraits, and historical subjects,
many of which have been lost. In 1602 Stella was named
master of the painters' guild of Lyons. Two of his sons,
Jacques and François the Younger, became artists.
JACQUES STELLA
Lyons 15 96-Paris 1657
Jacques was the son of François Stella, a painter of Flem-
ish origin. He was in Florence, along with Jacques Cal-
lot, from 1616 to 1622; there he worked for Cosimo II de'
Medici. Circa 1623 he moved to Rome for a ten-year stay,
becoming famous for his small-scale paintings and en-
gravings. Many of Stella's drawings were later engraved
by his nieces. In Rome he was a friend of Nicolas Pous-
sin. Circa 1634 he left Rome and traveled north, stopping
along the way in Venice, Milan, and Lyons. The Adora-
tion of the Angels of 1635 (Lyons, Musée des Beaux-Arts)
dates from an extended stay in his native city en route to
Paris. There he was presented to Louis XIII by Cardinal
Richelieu and was appointed painter to the king, in
whose honor he painted The Liberality of Louis XIII and
Cardinal Richelieu of circa 1642 (Cambridge, Mass.,
Fogg Art Museum). Stella worked in Rouen and at
Versailles as well as in Paris during the latter portion of
his career.
FRIEDRICH SUSTRIS
Italy (Venice?) circa i54O-Munich 1599
Friedrich was the son of Lambert Sustris, a Dutch
painter active in Titian's workshop in Venice. He prob-
ably trained in Venice with his father and accompanied
him to Padua in 1554-55. After a likely visit to Rome in
1560, Sustris resided in Florence from 1563 to 1567, as-
sisting Giorgio Vasari on such projects as the decoration
of the Palazzo Vecchio. He also became a member of the
Accademia del Disegno. Between 1568 and 1573 Sustris
oversaw a team of painters and stuccoists in the decora-
tion of the house of Hans Fugger in Augsburg. From
1580 on he was in the service of the dukes of Bavaria in
Munich, assuming a role similar to that of Vasari in
which he designed and coordinated all of the artistic proj-
ects undertaken at the court. Among the most important
of these were the Jesuit church of Saint Michael in Mu-
nich (from 1583), the gardens and Grottenhof of the Mu-
nich Residenz (circa 1582-86), and the construction of
the Munich Antiquarium (from 1586). Together with
Bartholomeus Spranger and Hans van Aachen, Sustris
was one of the leading artistic figures in Central Europe
during the later sixteenth century and also one of the ep-
och's finest draughtsmen.
JOSEPH-BENOIT SUVÉE
Bruges 1743-Rome 1807
Suvée received his early artistic training at the Académie
in Bruges, which was modeled upon the French Aca-
démie. He moved to Paris in 1763 and entered the atelier
of Jean-Jacques Bachelier. He competed in the Prix de
Rome competition three times, winning in 1771 with
Combat of Minerva and Mars (Lille, Musée des Beaux-
Arts). Before leaving for Rome, Suvée painted several re-
ligious paintings for churches in Paris, Ypres, Limoges,
and Cambrai. While in Rome between late 1772 and
1778, his work took on an antiquarian aspect. On his re-
turn to Paris he showed regularly at the Salon between
1779 and 1796. Suvée worked for the king and the aris-
tocracy throughout his successful career, painting por-
traits and historical and religious works and producing
tapestry designs. Some of his works hark back to the sev-
enteenth century, such as The Death of Admiral de Coligny
of 1787 (Dijon, Musée des Beaux-Arts), which was ad-
mired at the Salon for its dramatic light effects. After the
Revolution Suvée returned to Rome in 1801 as director
of the French Academy.TINTORETTO (Jacopo Robusti)
Venice 1518-1594
Called II Tintoretto because his father was a cloth dyer,
Jacopo is first recorded as an independent painter in 1539.
Circa 1542 he painted Christ among the Doctors (Milan,
Museo dell' Opera del Duomo) for the cathedral of
Milan. Tintoretto's style combines elements of Manner-
ism with Venetian colorism, as is evident in the painting
that established his reputation, The Miracle of Saint Mark
of 1548 (Accademia). In 1562 he was commissioned to
paint two pendants t o the early Saint Mark scene, The
Finding of the Body of Saint Mark (Brera) and The Abduc-
tion of the Body of Saint Mark (Accademia). Between 1565
and 1587 he was occupied with the elaborate decoration
of the Scuola di San Rocco, Venice. He first painted a
large Crucifixion (1565) for the Scuola and then numerous
scenes for the upper (1575 - 81) and ground stories (1583 —
87). One of Tintoretto's last works is the Last Supper of
1592-9 4 (Venice, San Giorgio Maggiore), notable for its
dramatic lighting and strong perspective.TITIAN (Tiziano Vecellio)
Pieve di Cadore circa 1480/90-Venice 1576
One of the greatest Venetian artists of the Cinquecento,
Titian trained in Venice with Gentile and Giovanni Bel-
lini and circa 1508 entered into association with Gior-
gione, whose lyrical style he adopted. In the Assumption
of 1516-18 for Santa Maria dei Frari, Venice, he intro-ARTISTS BIOGRAPHIES 347