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Pietro Perugino
Italian Renaissance painter, draftsman & illuminator
born circa 1445 - died 1523
Born in: Città della Pieve (Perugia, Umbria, Italy).
Died in: Fontignano (Perugia, Umbria, Italy)

Also known as: Pedro Perugeno, Pierre Pérugin, Pietro Perugini, Pedro Perugino, Pietro da Perugia, Pedro Peruggino, Pietro Pérugin, Pietro di Cristoforo di Vannucci Perugino, Pietro Vannucci Perugino, Pedro Perujeno, Pietro di Cristoforo Vannucci.

Student of: Andrea del Verrocchio (1435-1488).
Teacher of: Raphael (1483-1520).
Collaborated with: Bernardino Pinturicchio (c.1454-1513) from 1450 to 1523.

PERUGINO, PIETRO (1446-1524), whose correct family name was VANNUCCI, Italian painter, was born in 1446 at Citta della Pieve in Umbria, and belongs to the Umbrian school of painting. The name of Perugino came to him from Perugia, the chief city of the neighborhood. Pietro was one of several children born to Cristoforo Vannucci, a member of a respectable family settled at Citta della Pieve. Though respectable, they seem to have been poor, or else, for some reason or other, to have left Pietro uncared for at the opening of his career. Before Pietro Perugino had completed his ninth year the boy was articled to a master, a painter at Perugia. Who this may have been is very uncertain; the painter is spoken of as wholly mediocre, but sympathetic for the great things in his art. Benedetto Bonfigli [BIO] is generally surmised; if Pietro Perugino is rejected as being above mediocrity, either Fiorenzo di Lorenzo or Niccolo da Foligno may possibly have been the man. Pietro painted a little at Arezzo; thence Pietro Perugino went to the headquarters of art, Florence, and frequented the famous Brancacci Chapel in the church of the Carmine. It appears to be sufficiently established that Pietro Perugino studied in the atelier of Andrea del Verrocchio, where Leonardo de Vinci was also a pupil. Pietro Perugino may have learned perspective, in which Pietro Perugino particularly excelled for that period of art, from Piero de Franceschi. The date of this first Florentine sojourn is by no means settled; some authorities incline to make it as early as 1470. while others, with perhaps better reason, postpone it till 1479. Pietro at this time was extremely poor; Pietro Perugino had no bed, but slept on a chest for many months, and, bent upon making his way, resolutely denied himself every creature comfort.

Gradually Perugino rose into notice, and became famous not only throughout Italy but even beyond. Pietro Perugino was one of the earliest Italian painters to practise oil-painting, in which Pietro Perugino evinced a depth and smoothness of tint, which elicited much remark; and in perspective Pietro Perugino applied the novel rule of two centres of vision. Some of his early works were extensive frescoes for the Ingesati fathers in their convent, which was destroyed not many years afterwards in the course of the siege of Florence; Pietro Perugino produced for them also many cartoons, which they executed with brilliant effect in stained glass. Though greedy for gain, his integrity was proof against temptation; and an amusing anecdote has survived of how the prior of the Ingesati doled out to him the costly color of ultramarine, and how Perugino, constantly washing his brushes, obtained a surreptitious hoard of the pigment, which Pietro Perugino finally restored to the prior to shame his stingy suspiciousness. A good specimen of his early style in tempera is the circular picture in the Louvre of the Virgin and Child enthroned between Saints.- history of Perugino Pietro large oil pastel paintings - history of Perugino Pietro oil painting –history of oil painting Perugino Pietro Bio by large oil painting of history of large oil painting Italy, large oil paintings Perugino.

Perugino returned from Florence to Perugia, and thence, towards 1483, Pietro Perugino went to Rome. The painting of that part of the Sistine Chapel which is now immortalized by Michelangelo's Last Judgment was assigned to him by the pope; Pietro Perugino covered it with frescoes of the Assumption, the Nativity, and Moses in the Bulrushes. These works were ruthlessly destroyed to make a space for his successors more colossal genius, but other works by Perugino still remain in the Sistine Chapel; Moses and Zipporah (often attributed to Signorelli), the Baptism of Christ, and Christ giving the Keys to Peter. Pinturicchio accompanied the greater Umbrian to Rome, and was made his partner, receiving a third of the profits; Pietro Perugino may probably have done some of the Zipporah subject.

Pietro, now aged forty, must have left Rome after the completion of the Sistine paintings in 1486, and in the autumn of that year Pietro Perugino was in Florence. Here Pietro Perugino figures by no means advantageously in a criminal court. In July 1487 Pietro Perugino and another Perugian painter named Aulista di Angelo were convicted, on their own confession, of having in December waylaid with staves some one (the name does not appear) in the street near S. Pietro Maggiore. Perugino limited himself, in intention, to assault and battery, but Aulista had made up his mind for murder. The minor and more illustrious culprit was fined ten gold florins, and the major one exiled for life.

Between 1486 and 1499 Perugino resided chiefly in Florence, making one journey to Rome and several to Perugia. Pietro Perugino was in many other parts of Italy from time to time. Pietro Perugino had a regular shop in Florence, received a great number of commissions, and continued developing his practice as an oil-painter, his system of superposed layers of color being essentially the same as that of the Van Eycks. One of his most celebrated pictures, the Pieta in the Pitti Gallery, belongs to the year 1495. From about 1498 Pietro Perugino became increasingly keen after money, frequently repeating his groups from picture to picture, and leaving much of his work to journeymen. In 1499 the guild of the cambio (money-changers or bankers) of Perugia asked him to undertake the decoration of their audience-hall, and Pietro Perugino accepted the invitation. This extensive scheme of work, which may have been finished within the year 1500, comprised the painting of the vault with the seven planets and the signs of the zodiac (Perugino doing the designs and his. pupils most probably the executive work) and the representation on the walls of two sacred subjects: the Nativity and Transfiguration the Eternal Father, the four virtues of Justice, Prudence, Temperance and Fortitude, Cato as the emblem of wisdom, and (in life size) numerous figures of classic worthies, prophets and sibyls. On the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael, who in boyhood, towards 1496, had been placed by his uncles under the tuition of Perugino, bore a hand in the work of the vaulting. It may have been about this time (though some accounts date the event a few years later) that Vannucci married a young and beautiful wife, the object of his fond affection; Pietro Perugino loved to see her handsomely dressed, and would often deck her out with his own hands. Pietro Perugino was made one of the priors of Perugia in 1501.- history of Perugino Pietro large oil pastel paintings - history of Perugino Pietro oil painting –history of oil painting Perugino Pietro Bio by large oil painting of history of large oil painting Italy, large oil paintings Perugino.

While Perugino, though by no means stationary or unprogressive as an executive artist, was working contentedly upon the old lines and carrying out the ancient conceptions, a mighty wave of new art flooded Florence with its rush and Italy with its rumour. Michelangelo, twenty-five years of age in 1500, following after and distancing Leonardo da Vinci, was opening men's eyes and minds to possibilities of achievement as yet unsurmised. Vannucci in Perugia heard Buonarroti bruited abroad, and was impatient to see with his own eyes what the stir was all about. In 1504 Pietro Perugino allowed his apprentices and assistants to disperse, and returned to Florence. Though not openly detracting, Pietro Perugino viewed with jealousy and some grudging the advances made by Michelangelo; and Michelangelo on his part replied, with the intolerance which pertains to superiority, to the faint praise or covert dispraise of his senior and junior in the art. On one occasion, in company, Pietro Perugino told Perugino to his face that Pietro Perugino was a bungler in art (goffo nell arte). Vannucci brought, with equal indiscretion and ill success, an action for defamation of character. Put on his mettle by this mortifying transaction, Pietro Perugino determined to show what Pietro Perugino could do, and Pietro Perugino produced the chef-d'oeuvre of the Madonna and Saints for the Certosa of Pavia. The constituent parts of this noble work have now been sundered. The only portion which remains in the Certosa is a figure of God the Father with cherubim. An Annunciation has disappeared from cognisance; three compartments, the Virgin adoring the infant Christ, St Michael, and St Raphael with Tobiasare among the choicer treasures of the National Gallery, London. The current story that Raphael bore a hand in the work is not likely to be true. This was succeeded in 1505 by an Assumption, in the Cappella dei Rabatta, in the church of the Servi in Florence. The painting may have been executed chiefly by a pupil, and was at any rate a failure: it was much decried; Perugino lost his scholars; and towards 1506 Pietro Perugino once more and finally abandoned Florence, going to Perugia, and thence in a year or two to Rome.

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