1640; Washington, D.C., National Gallery of Art, and
Leicestershire, Belvoir Castle, Duke of Rutland).
Around 1629 or 1630 Poussin's repertoire of subjects
changed, focusing now on classical and mythological
themes. In 1640 he journeyed to France to work at the
court of Louis XIII. He returned to Rome permanently
in 1642 and began producing geometrically ordered
landscapes, of which the two Phocion landscapes (1648;
Shropshire, Oakley Park, Earl of Plymouth, and Liv-
erpool, Walker Art Gallery) are prime examples. Poussin
approached painting with a cerebral classicism that be-
came an ideal for future generations of French artists.FRANCESCO PRIMATICCIO
Bologna 1504-Paris 1570
Francesco Primaticcio's early development remains un-
clear. It seems that his earliest formal training com-
menced in 1525/26 with his move to Mantua, where he
became the pupil of Giulio Romano at the Palazzo del Te.
There he worked as a painter, decorator, sculptor, and
architect. He was invited to France in 1532 by Francis I to
participate i n the decoration of the royal chateau of Fon-
tainebleau, where he collaborated with Rosso Fiorentino
in several of the major rooms, including the Chambre du
Roi (1531-1535). Following Rossos death in 1540, Pri-
maticcio assumed the position of chief designer. He
made several journeys to Italy on behalf of Francis I dur-
ing the 1540s. With his compatriot Nicolo dellAbate he
continued to work on the decorations at Fontainebleau,
which included the Galerie d'Ulysse and the Salle du Bal.
Since little of his fresco and stucco work at Fontainebleau
survives, our knowledge of Primaticcio's lively and so-
phisticated style derives mainly from his surviving draw-
ings and paintings such as Ulysses and Penelope (Toledo
Museum of Art).
GIULIO CESARE PROCACCINI
Bologna 1574-Milan 1625
Procaccini, whose father and brothers were painters,
moved with his family to Milan in the mid-i58os. Orig-
inally, he trained as a sculptor, but, following a trip to
Parma around 1600-1602, he turned to painting. His
earliest pictures, including the Martyrdom ofSS. Nazaro
and Celso (1606; Milan, Santa Maria presso San Celso)
and the series of ten paintings for the Tribunale di Pro-
visione commissioned in 1605 (Milan, Castello Sfor-
zesco), reflect a knowledge of Parmigianino and Cor-
reggio and the influence of Procaccini's Lombard
contemporaries Cerano and Morazzone. Between 1603
and 1613, Procaccini produced a large number of devo-
tional paintings, including representations of the mira-
cles of San Carlo Borromeo for the Duomo, the Mystic
Marriage of Saint Catherine (Milan, Pinacoteca di Brera),
and the Madonna with Saints (Saronno, Sanctuario 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
around 1495, quickly assimilating and surpassing his
master's style. While working in Florence between 1504
and 1508, Raphael enthusiastically embraced the exam-
ples of Leonardo and Michelangelo, as can be seen in the
Portrait of Maddalena Doni (1506; Florence, Pitti) and the
Entombment (1507; Rome, Galleria Borghese). In 1508 or
1509 he moved to Rome, where the artistic and intellec-
tual climate offered new inspiration. Pope Julius II em-
ployed him to decorate the Vatican Stanze, including the
Stanza della Segnatura (1509-1511). Raphael continued
to work at the Vatican under Leo X in addition to ac-
cepting numerous private commissions. Notable mas-
terpieces include the Galatea fresco (1514; Villa Farnesina)
and the Portrait of Baldassare Castiglione (1515; Paris,
Louvre). Raphael became increasingly occupied with ar-
chitectural projects and in 1514 succeeded Bramante as
architect of the new Saint Peter's. His last great altarpiece,
the Transfiguration (Vatican, Pinacoteca), was made in di-
rect competition with one by 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
Universiteit te Leiden in 1620. In 1621 he was apprenticed
to the Leiden history painter Jacob Isaacsz. van Swanen-
burgh, and around 1623/24 he studied in Amsterdam
with Pieter Lastman and Jacob Pynas. Around 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 Am-
sterdam 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 pictures for the stadtholder, Prince Frederick
Henry. Rembrandt married Saskia van Uylenburgh in
1634. During the 16305 and '405 he had many students,
including Govaert Flinck, Ferdinand Bol, Carel Fabri-
tius, and Gerbrandt van den Eeckhout. The birth of his
son Titus in 1641 was followed by Saskia's death in 1642,ARTISTS BIOGRAPHIES 349