enna, Kunsthistorisches Museum), which he presented
to an appreciative Pope Clement VII, thereby securing
work at the papal court. In Rome the influence of Ra-
phael and of antique sculpture reinforced Parmigianino's
attention to plastic values and refined elegance, as can be
seen in the Vision of Saint Jerome of 1527 (National Gal-
lery). In 1527 he moved to Bologna, where his major
works included the undated Madonna of Saint Zachary
(Uffizi) and the Madonna of Saint Margaret of 1528-29
(Bologna, Pinacoteca). Among the artist's last great
works are the Madonna of the Long Neck, commissioned
in 1534 (Uffizi), and the unfinished fresco decorations
(1530-39) for Santa Maria della Steccata, Parma.
BARTOLOMEO PASSAROTTI
Bologna 1529-1592
Although the beginnings of his career are unclear, Pas-
sarotti is first documented in Rome in 1551, working
with the architect Jacopo Vignola, and—later—with
Taddeo Zuccaro, making etchings after Zuccaro's draw-
ings. By circa 1560 he was back in Bologna, where he
lived almost continuously thereafter. Passarottis early
works, such as the Madonna and Child with Saints of 1565
(Bologna, San Giacomo Maggiore), reveal a knowledge
of Emilian artists, most notably Correggio. In certain
mature paintings, including an Ecce Homo of circa 1575
(Bologna, Santa Maria del Borgo), Passarotti employed
typical Mannerist conventions, yet he was also a keen ob-
server of nature, as is evidenced by his portraits, still lifes,
and genre paintings. The naturalism of his genre scenes
from the 15705 and '80s such as the Butcher Shop or Fish
Vendors (both Rome, Galleria Nazionale) inspired An-
nibale Carracci, among others. One of Passarottis last
dated works is the Presentation of the Virgin of 1583 (Bo-
logna, Pinacoteca). In his drawings he employed a dis-
tinctive cross-hatching reminiscent of Michelangelo and
Baccio Bandinelli. Passarotti established an influential art
academy in Bologna that his four sons and Agostino Car-
racci attended.
JEAN-BAPTISTE PATER
Valenciennes 1695-Paris 1736
The son of a sculptor, Pater studied painting in 1713 with
his father's friend Antoine Watteau, also a native of Va-
lenciennes. He again studied with Watteau in 1721,
shortly before the master's death. Throughout his rather
brief career, Pater painted Jetes galantes in the style of
Watteau, albeit in a slightly less poetic manner. Pater be-
came a member of the Académie in 1728 with a Fête
Champêtre (Louvre) as his reception piece. Paintings such
as The Fair at Bezons of 1733 (Metropolitan Museum of
Art) are strongly reminiscent of Watteau, employing
compositions, settings, and costumes similar to those in
his paintings. Likewise Pater's drawing style was based
on his master's. In the eighteenth century his fame ap-
proached that of Watteau himself.GEORG PENCZ
Wroclaw(?) circa 1500-Leipzig 1550
Pencz was active in Durer s workshop as early as 1521,
becoming a citizen of Nuremberg in 1523. In January
1525 he and the artists Barthel and Sebald Beham were
briefly expelled from the city for atheism. Little is known
of Pencz's artistic activities in the 15205. It has been pro-
posed that he was identical with the Master I. B., a Nu-
remberg printmaker active during this decade, but this is
doubtful. Pencz is recorded in Nuremberg in 1530 and
was made the official city painter in 1532. In 1534 he ex-
ecuted an illusionistic ceiling painting there, The Fall of
Phaeton (Stadtmuseum Fembohaus), which indicates
that he had studied Giulio Romano's frescoes in the Pal-
azzo del Te, Mantua, probably on a trip to northern Italy
circa 1529. Pencz's prints and drawings of the early 15305
reflect the influence of the Italian engraver Marcantonio
Raimondi. Circa 1539/40 he returned to Italy, this time
visiting Rome, where he made drawings after Michel-
angelo's frescoes The Deluge and The Last Judgment in the
Cappella Sistina. Pencz returned to Nuremberg in 1540.
His reputation as a portraitist led to his appointment as
court painter to Duke Albert I of Saxony at Kônigsberg
in 1550. However, he died in Leipzig the same year en
route to his new post.PERINO DEL VAGA (Piero Buonaçcorsi)
Florence circa 1500-Rome 1547
Perino del Vaga received his early training in Florence in
the workshop of Ridolfo Ghirlandaio. Circa 1516 he
traveled to Rome with a painter called Vaga, from whom
he took his name. By 1518 Perino was working in the
Vatican Logge with Raphael's workshop. His first inde-
pendent Roman work is probably a frescoed Pietà of
circa 1519 (Rome, San Stefano del Caceo). Perino, to-
gether with Giovanni da Udine, decorated the Sala dei
Pontefici in the Vatican in 1521. In 1522 Perino was living
in Florence, but he was back in Rome by 1524, when he
painted frescoes for the Cappella Pucci in SS. Trinità dei
Monti. Perino worked in Genoa from 1528 to 1535/36;
his chief patron there was Andrea Doria. The Fall of the
Giants of circa 1531-33 (Genoa, Palazzo Doria) is a key
work from this period. Among Perino's Genoese reli-340 ARTISTS BIOGRAPHIES