{{Short description|Venetian painter (1548/50–1628)}} {{Use dmy dates|date=October 2025}} {{Infobox artist | image = Jacopo Palma il Giovane.png | alt = | caption = Supposed self-portrait as a monk | birth_name = Iacopo Negretti | birth_date = 1548/50 | birth_place = Venice, Republic of Venice | death_date = {{death date|1628|10|14|df=y}} (aged 77–80) | death_place = Venice, Republic of Venice | known_for = Painting | movement = High Renaissance | notable_works = | patrons = }} '''Iacopo Negretti''' (1548/50<ref>Spelling and dates as in Sydney J. Freedberg, ''Painting in Italy 1500–1600'', 3rd ed. (Yale University Press) 1993:560-62.</ref> – 14 October 1628), best known as '''Jacopo''' or '''Giacomo Palma il Giovane''' or simply '''Palma Giovane''' ('Young Palma'),<ref>"Jacopo Palma called Palma Giovane, in Federico Zeri, ''Italian Paintings'' (Metropolitan Museum of Art), 1973:45.</ref> was an Italian painter from Venice and a notable exponent of the Venetian school.
After Tintoretto's death (1594), Palma became Venice's dominant artist, perpetuating his style.<ref>S. J. Freedberg characterises him among Venetian painters as "the only painter of this generation to exhibit a semblance of vitality, even within formulae based mostly upon Tintorettesque style." (Freedberg 1993:560).</ref> Outside Venice, he received numerous commissions in the area of Bergamo, then part of the Venetian Domini di Terraferma, and in Central Europe, most prominently from the connoisseur emperor Rudolph II in Prague.
==Biography== Palma was born in Venice. Born into a family of painters, he was the great-nephew of the painter Palma Vecchio ("Old Palma") and the son of Antonio Nigreti (1510/15–1575/85), a minor painter who was himself the pupil of the elder Palma's workshop foreman Bonifacio de' Pitati<ref>Bonifacio inherited the elder Palma's workshop in 1528; see Philip Cottrell, "The Artistic Parentage of Palma Giovane" ''The Burlington Magazine'' '''144''' No. 1190 (May 2002), pp. 289–291.</ref> and who after Bonifazio's death (1553) inherited Bonifacio's shop and clientele; the younger Palma seems to have polished his style making copies after Titian.
In 1567, Guidobaldo II della Rovere, duke of Urbino, recognised Palma's talents, supporting him for four years and sending him to Rome, where he remained until about 1572. Shedding most remnants of Roman manner after his return to Venice, Palma adopted the inescapable models and mannerisms of Tintoretto. His early biographers assert that he found a place in the ageing Titian's workshop; when the master died, Palma stepped in to finish his last work, the ''Pietà'' in the Accademia, Venice. Palma's first major public commission arrived after a 1577 fire in the Doge's Palace: three scenes in its grand council hall. By the mid-1580s, he had digested Tintoretto's versatile figure postures and Titian's thick surfaces, emphasis on light, and loose brushstroke. In Palma Giovane's output, Freedberg also detects "an occasional discursive opulence à la Veronese; and inclinations towards descriptive naturalism à la Bassano."<ref>Freedberg 1993:561.</ref>
Rejecting Mannerism in the 1580s, he embraced a reformist naturalism.<ref>Freedberg notes in this context the ''Martyrdom of Saint Lawrence'', San Giacomo dell'Orio, Venice, before 1584, then more conspicuously in the histories of the Doge Pasquale Cicogna in the Oratorio dei Crociferi, Venice 1586–87.</ref> He varied the ingeniously synthesised amalgam according to subject matter and patrons' own eclectic and conservative tastes, with "virtuoso skill and a facile intelligence".<ref>Freedberg 1993:561.</ref> [[file:Interior of Santi Giovanni e Paolo (Venice) - Monument to Palma il Giovane, Palma il Vecchio and Titian.jpg|thumb|Monument to Palma il Giovane, Basilica di San Giovanni e Paolo]] He worked alongside Veronese and Tintoretto on the decorations in the Doge's Palace, where he came to know fully the Venetian tradition. From 1580–90, he painted cycles of large canvases either for Venetian Schools or sacred buildings (the sacristies of San Giacomo dell'Orio and of the Jesuit church (I Gesuiti, Venice, the Scuola di San Giovanni Evangelista, and the Oratorio dei Crociferi). Thanks to the intelligent way they quoted from Tintoretto and their own narrative drive, these are Palma the Younger's best works. After this, he went back to official commissions at the Doge's Palace. Among these, there is the portrait of Pope Pius V, commissioned by the Bellanti Counts, an influential family who gave four "Capitani del popolo" to the city of Siena in the Middle Ages. After three centuries in Tuscany, it was bought by Sir Robert Dick in 1842. After almost two hundred years, the portrait was bought from Bonham's in London by Roberto Gagliardi, and returned to Tuscany where it is now held at the Chianciano Museum of Art, a few kilometres from Siena.<ref>{{Cite web|url=http://international-confederation-art-critics.org/roberto_gagliardi_bio|title=Roberto Gagliardi – Biography|date=23 March 2014|access-date=23 July 2015|archive-date=12 July 2021|archive-url=https://web.archive.org/web/20210712113312/https://www.international-confederation-art-critics.org/roberto_gagliardi_bio|url-status=dead}}</ref>
Palma il Giovane went on to organise his own large studio, which he used to produce a repetitive series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic. One of these works is ''Venus with a Mirror'' (after Titian). After 1600, he painted mythologies for a small circle of intellectuals. After the death of Tintoretto in 1594, he remained one of the leading painters in the City of Venice. He was commissioned to complete Titian’s unfinished ''Pietà''.<ref>{{Cite web |title=Jacopo Negretti, called Palma il Giovane – Old Master Paintings 2020/06/09 – Realized price: EUR 19,050 – Dorotheum |url=https://www.dorotheum.com/en/l/6718305/ |access-date=2024-12-22 |website=www.dorotheum.com |language=en-GB}}</ref>
He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges. Among his followers was the Brescian painter, Camillo Rama.
==Gallery== <gallery> Madonna dell'Orto (Venice) - Chapel Morosini - Crucifixion by Palma il Giovane.jpg|''Crucifixion'', Madonna dell'Orto Palma il Giovane Venus und Mars.jpg|''Venus and Mars'', c. 1590, The National Gallery, London Palma il Giovane Giaele uccide Sisara.jpg|''Yael Killing Sisera'' Chiessa di san Zaccaria Madonna col bambino, san Benedetto e altri santi (1605).jpg|''Madonna and Child, Saint Benedict and other saints'', 1605, San Zaccaria, Venice Capelle di Sant’Atanasio Davide vincitore di Golia festeggioto dalle fanciulle di Gerusalemme Palma il giovane.jpg|''Davide vincitore''...San Zaccaria, Venice Portrait of Pope Pius V by Palma il Giovane.jpg|''Pope Saint Pius V'' Venus with a Mirror (study).jpg|''Venus with a Mirror'' Francescostjerome.jpg|''Saint Jerome in the Wilderness'', c. 1590–1595 File:Palma il Giovane - Paolo Veronese - WGA16924.jpg|''Paolo Veronese'', c. 1600–1610 </gallery>
== See also == * Palma Vecchio
== Notes and references == {{reflist}}
==External links== {{Commons category}} * [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/187741/rec/2 ''Italian Paintings, Venetian School''], a collection catalog containing information about the artist and his works (see ''Jacopo Palma the Younger'' in index; plates 52–53).
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{{DEFAULTSORT:Palma il Giovane}} Category:16th-century births Category:1628 deaths Category:16th-century Italian painters Category:Italian male painters Category:17th-century Italian painters Category:Painters from Venice Category:Italian Mannerist painters Category:Burials at Santi Giovanni e Paolo, Venice