As in northern Europe, High Renaissance portraiture in Italy continued the earlier trend of absolute faithfulness to an individual's likeness. Italian painting, however, stressed a scientific anatomical knowledge to enhance realism besides pure visual observation.
Lorenzo di Credi, a Florentine, was a pupil of Perugino, Verrochio, and at sometime, Leonardo da Vinci (who had also been a pupil of Verrocchio). Despite the fact that he learned by copying works by Leonardo, Lorenzo's style is more reflective of the influence of Perugino and Verrocchio with its hard-edged, linear treatment of form.
Starting in the 1460s, Italian artists began to abandon the preferred profile type of portrait. They adapted the three-quarter bust type seen in northern painting and refined it. As here, they often removed the sitter from an interior setting, placing the subject against an expansive, northern Italian landscape. Lorenzo was known for his meticulous attention to detail in nature.
Artform: PAINTING AND DRAWING, Pre-20th Century
Artist: Lorenzo di Credi
Artist Dates: 1456/1458-1537
Period: 15th century
Medium: oil on panel transferred to canvas
Size: 44 x 30.5 cm
Museum: National Gallery of Art, Washington
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