![]() Around 1574 (the year of our portrait) he produced one of his masterpieces, The Resurrection, for the Basilica of Santa Croce in Florence in which he departed from previous Florentine works by offering a representation close to the sacred texts, free of any lascivious or purely ornamental elements. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas, whose members were faithful observers of the principles developed during the Council of Trent. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci.Īround 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. Between 15, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. He proposed a new artistic language that broke away from Mannerism. Santi di Tito was the great painter of the Florentine Counter-Reformation. Santi di Tito, Counter-Reformation painter and portraitist While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition.ġ. ![]() On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). ![]() ![]() This recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. Late 16th century Tuscan carved and gilded wood cassetta frame (probably its original frame) ![]()
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