Perugino

The Columbia Encyclopedia, 6th ed.

Perugino

Perugino (pārōōjē´nō), c.1445–1523?, Umbrian painter, b. near Perugia. His real name was Pietro di Cristoforo Vannucci. Perugino is, after Raphael, the greatest painter of the Umbrian school. His tenderness of color and simplicity of style evolved into a more contemplative expression in his later years. He studied under Fiorenzo di Lorenzo, assisted Piero della Francesca at Arezzo, and was a fellow pupil of Leonardo da Vinci and Lorenzo di Credi in Verrocchio's studio in Florence. In 1479 Perugino was summoned to Rome by Pope Sixtus IV to help decorate the Sistine Chapel. Some of his work there was destroyed to make room for Michelangelo's Last Judgment. The remaining fresco, Christ Giving the Keys to St. Peter, is one of the greatest paintings from the second half of the 15th cent. because of its simplicity and clarity of composition. From 1486 to 1491 Perugino worked mainly in Florence. Important works of that period are the Madonna with Saints and Angels (Louvre); Pietà (Pitti Palace, Florence); The Crucifixion, fresco (Santa Maria Maddalena dei Pazzi, Florence); Madonna Enthroned with Saints (Vatican); and The Crucifixion (National Gall. of Art, Washington, D.C.). His last period (1505–23), centering mainly about Umbria, was one of great productivity. He had many pupils and assistants, among them the youthful Raphael. From 1496 to 1498 Perugino worked on the great altarpiece, The Ascension, for San Pietro of Perugia. He also undertook the decoration of the audience hall of the Cambio in Perugia, consisting of allegorical figures and two sacred subjects, Nativity and Transfiguration. In 1500 he painted the altarpiece, Madonna and Saints, for the Certosa of Pavia. Other works of the last period are Triumph of Chastity (Louvre), a panel painted for the study of Isabella d'Este at Mantua; Virgin between St. Jerome and St. Francis and The Adoration of the Shepherds, his last work (both: National Gall., London); and Annunciation (National Gall. of Art, Washington, D.C.).

See B. Berenson, Italian Painters of the Renaissance (Vol. II, 1897, repr. 1968); biography by E. Hutton (1907).

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Perugino
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.