Luca Signorelli was a Renaissance painter who paid particular attention to the anatomy of the figures in his works. Since he was born in the Tuscan town of Cortona, he was given the nickname Luca da Cortona. His father was the painter Egidio di Ventura Signorelli. His first teacher was probably Piero della Francesca in the 1460s. The first documented works that can be attributed to Signorelli show strong influences of Piero's style. In the following years, Piero's influence on Signorelli's work diminished. The young painter became more interested in the Florentine school. The Pollaiulo brothers and their scientific naturalism had a dominant influence on his further work. There are many indications that Signorelli left Tuscany to continue his studies and work in Florence.
Signorelli also worked in Rome, Siena, Orvieto and Perugia. Most of his work consisted of frescoes. He was commissioned by Pope Julius II in 1508, together with a number of other artists such as Perugino, Pinturicchio and Il Sodoma, to decorate some of the large rooms in the Vatican Palace. However, the Pope soon changed his mind and dismissed them all to reassign the commission to Raphael. Most of the work they had done until then was removed. From about 1520 Signorelli painted less and less for health reasons, as he showed signs of paralysis. The quality of his last works deteriorated considerably. It is assumed that he had many works completed by his students. He spent the last years of his life in Cortona. There he was also politically active from 1479 as a member of the council and judge of the peace. He retained this position until the end of his life. Signorelli was a respected member of his home town. Little is known about his private life. According to the description of the art historian Giorgio Vaseri, who is said to be related to Signorelli, he was always friendly and a family man. He is said to have had little in common with a painter on the outside, but liked to dress like a nobleman.
Signorelli's fascination with anatomy suggests that he carried out many anatomical studies. Colours were not as important to him in his works as perspective, powerful poses and the play of light and shadow. In his works, he liked to show the nude figures during great exertions of strength, which made their muscles stand out and were especially emphasized. He liked to experiment with hypothetical and partly anatomically impossible poses and body shapes. Signorelli had many students, none of whom, however, achieved real, notable fame. Nevertheless, his work indirectly had a great influence on the Florentine art scene. Michelangelo, for example, is said to have based his figure design for the Sistine Chapel on Signorelli's famous frescoes "The End of the World" and "Last Judgement" from Orvieto Cathedral. Some of the poses and figures are said to have been taken over by Michelangelo in a similar form from Signorelli's frescoes.
Luca Signorelli was a Renaissance painter who paid particular attention to the anatomy of the figures in his works. Since he was born in the Tuscan town of Cortona, he was given the nickname Luca da Cortona. His father was the painter Egidio di Ventura Signorelli. His first teacher was probably Piero della Francesca in the 1460s. The first documented works that can be attributed to Signorelli show strong influences of Piero's style. In the following years, Piero's influence on Signorelli's work diminished. The young painter became more interested in the Florentine school. The Pollaiulo brothers and their scientific naturalism had a dominant influence on his further work. There are many indications that Signorelli left Tuscany to continue his studies and work in Florence.
Signorelli also worked in Rome, Siena, Orvieto and Perugia. Most of his work consisted of frescoes. He was commissioned by Pope Julius II in 1508, together with a number of other artists such as Perugino, Pinturicchio and Il Sodoma, to decorate some of the large rooms in the Vatican Palace. However, the Pope soon changed his mind and dismissed them all to reassign the commission to Raphael. Most of the work they had done until then was removed. From about 1520 Signorelli painted less and less for health reasons, as he showed signs of paralysis. The quality of his last works deteriorated considerably. It is assumed that he had many works completed by his students. He spent the last years of his life in Cortona. There he was also politically active from 1479 as a member of the council and judge of the peace. He retained this position until the end of his life. Signorelli was a respected member of his home town. Little is known about his private life. According to the description of the art historian Giorgio Vaseri, who is said to be related to Signorelli, he was always friendly and a family man. He is said to have had little in common with a painter on the outside, but liked to dress like a nobleman.
Signorelli's fascination with anatomy suggests that he carried out many anatomical studies. Colours were not as important to him in his works as perspective, powerful poses and the play of light and shadow. In his works, he liked to show the nude figures during great exertions of strength, which made their muscles stand out and were especially emphasized. He liked to experiment with hypothetical and partly anatomically impossible poses and body shapes. Signorelli had many students, none of whom, however, achieved real, notable fame. Nevertheless, his work indirectly had a great influence on the Florentine art scene. Michelangelo, for example, is said to have based his figure design for the Sistine Chapel on Signorelli's famous frescoes "The End of the World" and "Last Judgement" from Orvieto Cathedral. Some of the poses and figures are said to have been taken over by Michelangelo in a similar form from Signorelli's frescoes.
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