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Giovanni Antonio Boltraffio
St. Sebastian, detail from a Madona with Child, St. Sebastian, St. John the Baptist and two donors
new25/Giovanni Antonio Boltraffio-398387.jpg
Oil on wood, 1500.
Dimensions H. (total) 1.86 m (6 ft. 1 in.)
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Giovanni Antonio Boltraffio
Virgin and Child
new25/Giovanni Antonio Boltraffio-689464.jpg
between 1493(1493) and 1499(1499)
Medium Oil on wood
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Giovanni Antonio Boltraffio
Virgin and Child with Sts John the Baptist and Sebastian
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1500(1500)
Medium Oil on poplar
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Giovanni Antonio Boltraffio
Maria mit dem Kind
new25/Giovanni Antonio Boltraffio-478646.jpg
c. 1500(1500)
Medium Oil on panel
Dimensions 83 x 63.5 cm (32.7 x 25 in)
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Giovanni Antonio Boltraffio
Baptist and two donors
new25/Giovanni Antonio Boltraffio-435794.jpg
Oil on wood, 1500
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Giovanni Antonio Boltraffio
St Sebastian
new25/Giovanni Antonio Boltraffio-458344.jpg
second half of 15th century
Medium Oil on wood transferred to canvas
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Giovanni Antonio Boltraffio
The Resurrection of Christ with SS. Leonard of Noblac and Lucia
new26/Giovanni Antonio Boltraffio-575867.jpg
circa 1491(1491)
Medium oil on poplar wood
Dimensions Height: 234.5 cm (92.3 in). Width: 185.5 cm (73 in).
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Giovanni Antonio Boltraffio
St Sebastian
new26/Giovanni Antonio Boltraffio-364834.jpg
second half of 15th century
Medium Oil on wood transferred to canvas
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Giovanni Antonio Boltraffio
was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci.[2] Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan.
His major painting of the 1490s is the Resurrection (painted with fellow da Vinci pupil Marco d'Oggiono and now in the Gemäldegalerie, Berlin). A Madonna and Child in the Museo Poldi Pezzoli of Milan, is one of the high points of the Lombard Quattrocento.
His portraits, often in profile, and his half-length renderings of the Madonna and Child are Leonardesque in conception, though the clean hard edges of his outlines lack Leonardo's sfumato.
In Bologna, where he remained in 1500-1502, he found sympathetic patrons in the Casio family, of whom he painted several portraits and for whom he produced his masterwork, the Pala Casio for the Church of the Misericordia (Louvre Museum); it depicts a Madonna and Child with John the Baptist and Saint Sebastian and two Kneeling Donors, Giacomo Marchione de' Pandolfi da Casio and his son, the Bolognese poet Girolamo Casio[3], who mentioned Boltraffio in some of his sonnets. Boltraffio's portrait of Girolamo Casio is at the Pinacoteca di Brera, Milan.
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