Lucio Massari | |
|---|---|
 The Holy Family | |
| Born | 22 January 1569 |
| Died | 3 November 1633 (aged 64) |
| Nationality | Italian |
| Known for | Painting |
| Movement | Mannerism and Baroque |
Lucio Massari (22 January 1569 – 3 November 1633) was an Italian painter of the School of Bologna. He can be described as painting during both Mannerist and early- Baroque periods.
Life and work
He was born in Bologna, where he initially apprenticed with an unknown painter by the name of Spinelli, then the Mannerist painter Bartolomeo Passarotti, but also worked with Bartolomeo Cesi. In 1592, he joined the Carracci studio or the Academy of the Incamminati, and remained attached to Ludovico Carracci for many years. In 1604, he worked with Ludovico to fresco Stories of San Mauro, San Benedetto and others in the cloister of San Michele in Bosco. In 1607, he collaborated with Lionello Spada and Francesco Brizio in frescoes for the Palazzo Bonfioli, in Bologna. In 1610, he visited Rome, remaining under the patronage of Cardinal Facchinetti, and befriended Domenichino. In 1612, he completed the frescoes left unfinished by Bernardino Poccetti in a chapel of the Certosa di Galluzzo, near Florence. He painted the main altarpiece for the church of Santa Maria in Guadi in San Giovanni in Persiceto.
He returned to Bologna in 1614, and soon traveled with Francesco Albani to work in Mantua. He is said to have spent so much time in hunting, fishing, and the delights of the countryside, that he neglected painting, though his biography shows him to be exceedingly prolific in altarpieces. Among his pupils were Sebastiano Brunetti, Antonio Randa, and Fra Bonaventura Bisi.
His son Bartolomeo Massari became a noted anatomist.
External links
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Media related to
Lucio Massari at Wikimedia Commons - Blood of the Redeemer at Museum of Fine Arts, Boston
- Marchese Antonio Bolognini Amorini (1841–1843). Vite dei Pittori ed Artifici Bolognesi (two volumes). Tipi Governativi alla Volpe ed Nobili; Original from Oxford Library, digitized June 26, 2006. pp. 102–106 (Parte Quinta).
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