Niccolo Dell Abbate

Italy 1509-1571
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Niccolo Dell Abbate oil paintings
Niccolo Dell Abbate : Deer Hunt
1550-1552 Oil on canvas, Galleria Borghese, Rome, Italy
Niccolo Dell Abbate : Orpheus and Eurydice
Oil on canvas, 74 x 93 1/4 inches (188 x 237 cm), National Gallery, London, England
Niccolo Dell Abbate : The Continence of Scipio
Oil on canvas, Musee du Louvre, Paris, France
Niccolo Dell Abbate : The Rape of Proserpine
Oil on canvas, Musee du Louvre, Paris, France
Niccolo Dell Abbate : The Conversion of St Paul
by Niccolo dell Abbate, 49421-Abbate, Niccolo dell-The Conversion of St Paul.jpg
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Biography
Artist photo

Niccolo dell'Abbate, sometimes Niccolo and Abate (1509 or 1512 - 1571) was an Italian painter and decorator. He was of the Emilian school, and was part of the staff of artists called the School of Fontainebleau that introduced the Italianate Renaissance to France.

Niccolò dell'Abbate was born in Modena, the son of a violinist.

He trained together with Alberto Fontana in the studio of Antonio Begarelli, a local Modenese sculptor; early influences included Ferrarese painters such as Garofalo and Dosso Dossi. He specialized in long friezes with secular and mythological subjects, including for the Palazzo dei Beccherie (1537); in various rooms of the Rocca at Scandiano owned by the counts Boiardo, notably a courtly ceiling Concert composed of a ring of young musicians seen in perspective, sotto in su (early 1540s), and the Hercules Room in the Rocca dei Meli Lupi at Soragna (c. 1540–43), and possibly the loggia frescoes removed from Palazzo Casotti at Reggio Emilia.

His style was modified by exposure to notably Correggio and Parmigianino, when he moved to Bologna in 1547. In Bologna, most of his painting depicted elaborate landscapes and aristocratic genre scenes of hunting and courtly loves, often paralleled in mythologic narratives. It was during this time that he decorated the Palazzo Poggi, and executed a cycle of frescoes illustrating Orlando Furioso in the ducal palace at Sassuolo, near Modena. One of his early pieces that cemented his reputation was the Martyrdom of St. Peter and St. Paul, in the church of San Pietro, Modena.

He spent 1548 through 1552 in Bologna, where he gained influence from Correggio and Parmigianino. His surviving stucco-surface landscape in the Palazzo dell'Úniversita shows his maturing style.

In 1552, Niccolò moved to France, where he worked at the royal Château de Fontainebleau as a member of the decorating team under the direction of Francesco Primaticcio. Within two years of his arrival he was drawing a project for a decor commemorating Anne de Montmorency (preparatory drawing at the Louvre). In Paris, he frescoed the chapel ceiling in the Hôtel de Guise (destroyed), following Primaticcio's designs. He also executed private commissions for portable canvases of mythological subjects sited in landscapes. He designed a series of tapestries titles Les Mois Arabesques, some of which were used by the painted enamel industry of Limoges. Much of his output reflected an often overlooked function of artists of the time: the ephemeral festive decorations erected to celebrate special occasions in the court circle, for example, the decorations for the triumphal entry into Paris staged for Charles IX and his bride Elisabeth of Austria. His final pieces, in 1571, were 16 murals which were done with the assistance of his son Giulio Camillo. That year, Niccolò died in Fontainebleau, France.



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