Page:Cyclopedia of Painters and Paintings, 1887, vol 3.djvu/434

PALM A a great master in the full meaning of the term, he nearly equalled his two great con- temporaries. As a colourist he re- calls Giovanni Bellini, and in other respects Cima and Car- pa c c i o. Like Giorgioue, he was fond of natural backgrounds and loved to paint smiling landscapes, but he approached that master more nearly in his portraits of women, which are remarkable for brilliancy of tint, softness of tone, and richness of cos- tume. Among his many pictures are : Christ and Apostles, Venice Academy ; Madonna, Palazzo Colonna, Rome ; Madonna (3), Lochis Carrara, Bergamo ; Virgin Enthroned, Church of Zerman ; St. Peter Enthroned, Venice Academy ; St. /'arliara, S. M. Formosa, Ven- ice ; Glory of Constantino and Helena, Brera, Milan ; Virgin Enthroned, S. Stefano, Vi- ccnza ; Kintla Conversazione, Naples Muse- um ; Entombment, Brussels Museum ; Ad- oration of the Shepherds, Madrid Museum ; do., National Gallery, Edinburgh ; Vi.iila- h'mi, Santa Conversazione, Vienna Museum ; Madonna, Louvre ; do., and two portraits, Berlin Museum ; Venus at Toilet, Androm- eda freed by Perseus, Cassel Gallery ; Holy Family (3), Three Gnu-ex, Dresden Museum ; Madonna with Saints, Portrait of the Artist, Old Pinakothek, Munich ; Ad- oration of the Shepherds, Madonna with 1ACOBVS * PALMA: Saints, Holy Family, Hermitage, St. Peters- burg. Among his single figures and por- traits are : Venus, Dresden Museum ; Adam and Eve, Brunswick Gallery ; Judith, Uffizi, Florence ; La Schiava, Palazzo Barberini, Home ; Female Portraits (4), Lucretia, Vio- lante, Vienna Museum ; Venus, Dresden Museum. C. & C., N. Italy, ii. 456 ; Va- sari, ed. Mil., v. 243 ; ed. Le Mori., is. 140 ; Burckbarc.lt, ^713, 722, 806 ; Seguier, 147 ; Ch. Blanc, Ecole veiiitienne ; Dohme, 2iii. ; Lermolieff, 14 ; Liibke, Gesch. ital. Mai., ii. 500 ; Zeitschr. f. b. K, iii. 214 ; xviii. 96. PALMA, GIACOMO, called Palma Gio- vane (the young- er), born in Ven- ice in 1544, died there in 1628. Venetian school ; son and pupil of Antonio Palma, a mediocre painter, and n e p b e w of Palma Vecchio. Afterwards stud- ied the works of Titian, and later, during an eight years' so- journ in Rome under the protection of the Duke of Urbino, the compositions of Mi- chelangelo, Raphael, and Caravaggio. Al- though Tintoretto and Paolo Veronese were in high favour when Palma returned to Ven- ice (15G8), he nevertheless obtained impor- tant commissions through the friendship of the architect and sculptor Alessandro Vit- toria, who bad quarrelled with Tintoretto and Veronese. He was, says Lanzi, the last painter of the good, and the first of the bad, epoch in Venice. Vigorous but not always correct in design, having great facility, and distinguished for the freshness of his colour- ing, which, though less lustrous than that of Paolo Veronese, is often more pleasing than that of Tintoretto, he gives evidence of carelessness in his later pictures, and may be justly called one of the corruptera of taste in his age. There are several pict- ures by him in the Palazzo Ducale, Venice, the best of which are the Last Judgment, and the Saviour adored by Two Doges. Other works from bis hand are : Tarquin and Lucretia, Venus and Cupid, and Per-