User:Mhighland11/sandbox

In my work with Vincenzo Foppa's article, I hope to find more information on his works to better convey his style, approach, and subjects. Additionally, his article currently lacks information about influences on his art and includes speculation. The article includes text from an older source, so it would be good to rewrite this and perhaps add a more recent take. That being said, a source from 1911 may in fact be the best to use in this case. Given Foppa's relative obscurity, it's entirely possible that there is a dearth of information on him, especially in recent years. Hopefully I will be able to provide more insight into his friendship with Leonardo da Vinci, his personal life, and the circumstances of his death. The article says that Foppa was an architect in addition to his painting, so I intend to find more out about his work in that field.

Tentative Bibliography:

Waterhouse, E. K. “The Fresco by Foppa in the Wallace Collection.” The Burlington Magazine, vol. 92, no. 567, 1950, pp. 177–176., www.jstor.org/stable/870422.

Urry, Serena. “Technical Findings in Vincenzo Foppa's: Adoration of the Child with Saint Benedict and Angels.” Bulletin of the Detroit Institute of Arts, vol. 78, no. 1/2, 2004, pp. 30–39., www.jstor.org/stable/41504982.

C. J. Ffoulkes and R. Maiocchi: Vincenzo Foppa of Brescia, Founder of the Lombard School: His Life and Works (London, 1909)

W. Suida: ‘Two Unknown Pictures by Vincenzo Foppa’,  Burl. Mag. , xlv (1924), pp. 210–11

R. Henniker-Heaton: ‘An Unpublished Picture by Vincenzo Foppa’,  A. America , xii (1925), pp. 196–9

K. T. Parker: ‘Vincenzo Foppa’,  Old Master Drgs , xiii (1938), pp. 6–8

E. K. Waterhouse: ‘The Fresco by Vincenzo Foppa in the Wallace Collection’,  Burl. Mag. , xcii (1950), p. 177

J. Gitlin Bernstein: ‘Science and Eschatology in the Portinari Chapel’,  A. Lombarda, n. s., xxvi/60 (1981), pp. 33–40

E. Samuels Welch: ‘New Documents for Vincenzo Foppa’,  Burl. Mag. , cxxvii (1985), pp. 296–300

J. Dunkerton and C. Plazzotta: ‘Vincenzo Foppa’s Adoration of the kings’,  N.G. Tech. Bull. , xxii (2001), pp. 18–28

A. Bayer, ed.: Painter’s of Reality: The Legacy of Leonardo and Caravaggio in Lombardy (New Haven and London, 2004)

“Vincenzo Foppa.” The Burlington Magazine for Connoisseurs, vol. 10, no. 44, 1906, pp. 131–131., www.jstor.org/stable/856902.

Tentative Lead:

Vincenzo Foppa (c.1430-c.1515) was a painter and architect of the Italian Renaissance. Foppa was born at Bagnolo Mella, near Brescia. The majority of his career was spent at Pavia, where he served the Dukes of Milan. While many of the artist's works have been lost, at the time of his work he was one of the leading artists of Lombardy. His best-known surviving works include his Crucifixion, his fresco decoration of Milan's Portinari Chapel, and St. Francis of Assisi Receiving the Stigmata. His only surviving secular work is the Medici Bank Fresco, depicting Cicero reading as a child, is also one of his more well-known pieces.

Peer Review Draft:

Vincenzo Foppa (c.1430-c.1515) was a painter and architect of the Italian Renaissance. The majority of his career was spent at Pavia, where he served the Dukes of Milan. Foppa was one the most influential painters of Lombardy during his time and the founder of the Early Lombard School (Ffoulkes). Tragically, many of the painter's works have been lost. His best-known surviving works include his Crucifixion, his fresco decoration of Milan's Portinari Chapel, and St. Francis of Assisi Receiving the Stigmata. His only surviving secular work, the Medici Bank Fresco, depicts Cicero reading as a child and is one of his more well-known pieces (Waterhouse).

Biography

Foppa was born at Bagnolo Mella, near Brescia. Little is known of Foppa's early life and training, although it has been speculated that he trained with Squarciane and possible Mantegna. However, his work is more stylistically reflective of Stefano de Verona and Jacopo Bellini. Foppa performed several works early in his career in Lombardy, eventually moving with his family to Pavia by 1458. His work in Pavia was noticed by Francesco Sforza, Duke of Milan, who commissioned Foppa to conduct several works in Milan, including the decoration of his ducal palace received from Cosimo de Medici (expand on relationship with Sforza). Foppa continued to work largely in Milan and Pavia throughout the remainder of his career, in addition to his frequent travels to Genoa beginning in the 1470s. Foppa returned to his native Brescia in 1489 and remained there until his death (expand on later life).

Career

Early in his career, Foppa produced such works as XYZ. Upon his arrival in Pavia, he completed XYZ. During the following decades, he worked on XYZ projects of Francesco Sforza in Milan, as well az ZYX in Pavia. In the 1480s, Foppa decorated Santa Maria di Brera, church in Milan, with various frescoes including Virgin and Child with St. John the Baptist and the Martyrdom of St. Sebastian. The latter part of his career included work on XYZ in Pavia and Brescia. In 1487 Foppa was contracted to work on the Griffi Chapel, but never began work on the building.

List of Major Works

Virgin and Child (1450)

Dead Christ Supported by an Angel (?)

St. Jerome (?)

Crucifixion (1456)

Young Boy Reading Cicero, Medici Bank Fresco (c.1465)

Life of St. Peter Martyr frescoes in Portinari Chapel, Milan (late 1460s)

Saints Agnes and Catherine of Alexandria (1476)

Virgin and Child with Saints (late 1470s)

St. Francis of Assisi Receiving the Stigmata (?)

Frescoes at Santa Maria di Brera, Milan (1480s)

Add more