Benvenuto di Giovanni
However, regardless of debate over date or authorship, Benvenuto left behind a significant number of works, both ones that are quite well known as well as others that are more minor in their distinction.
Born to a bricklayer in Siena, Benvenuto remained there for his entire life, only occasionally venturing to nearby cities for his work.
[1] Benvenuto was commissioned to do a number of works in the Siena Cathedral during his life that included choral miniatures, pavement designs, and frescoes.
What sets these artists apart is that it is believed that their pieces in the cathedral were what led to Benvenuto's great shift in style in the 1480s.
It was at this time that he saw Liberale and Girolamo's recent works in the cathedral that incorporated bright colors and manipulated light.
Additionally, not only did his style shift in this way, but he also began to experiment with the concept of spatial distortion that was common in paintings by Vecchietta and Donatello.
[3] The combination of his efforts to depict realistic figures, to strategically utilize colors, and to manipulate space in order to give his paintings depth led to a style that was both distinct and uniquely his.
However, in 1470, while many of his contemporaries still utilized softer palettes, Benvenuto chose to paint with rich, deep colors that pleased the viewer's eye.
Additionally, Benvenuto traded in his previous flat gold background for one of detailed scenery, including lush gardens, mountains, and lakes.
[5] This painting, done by many artists, depicts Adam and Eve being cast out of the Garden of Eden by the archangel, Jophiel.
He paints Eden as a lush green forest rather than a land full of a myriad of plants and animals.
[5] This theme is one that has been depicted in Italian paintings since the Middle Ages, but it became particularly popular with Sienese painters after Bartolo di Fredi created his triptych to decorate the altar of the Three Kings in the Siena Cathedral.
[3] Framed alongside four other of his works (Agony in the Garden, The Way to Calvary, The Resurrection, and The Descent into Limbo), this predella set of paintings details the struggles of Christ.
In the bottom left corner of the painting is the Virgin, Saint John, Mary, the mother of James, the Magdalene, and the three holy women.
[9] Painting the Virgin Mary fainting is an artistic choice that was very common in fourteenth-century Sienese representations of this event.
[6] Christ in Limbo 1491 National Gallery, Washington DC As stated previously, Benvenuto's only known follower was his son, Girolamo.
Specifically, works by the Sienese painter, Andrea di Niccolò, show significant evidence of Benvenuto's influence.
In this painting, the sharpness and intensity of the drapery, figures, and colors point directly towards the influence of Benvenuto's later style.
These characteristics are largely ones pertaining towards Benvenuto's distinct naturalistic depiction of figures, crisp backgrounds, and intentional draping of clothing that are evident in Andrea's works.
