Benvenuto di Giovanni

Born to a bricklayer in Siena, Benvenuto remained there for his entire life, only occasionally venturing to nearby cities for his work. The first records of him as an artist are of his contributions to the Siena Baptistery in 1453. His work here was likely in collaboration with il Vecchietta, as it is believed that Benvenuto was trained in his workshop. Outside of Vecchietta, Benvenuto was also likely to have worked under Sano di Pietro because they share a number of similarities stylistically. The combination of his efforts to depict realistic figures, to strategically utilize colors, and to manipulate space in order to give his paintings depth led to a style that was both distinct and uniquely his. These shifts in his style can be seen in paintings such as Maestà and Ascension. == Major works ==

Annunciation It is known that Benvenuto painted at least two versions of the Annunciation. His first Annunciation is the earliest known painting by him, dated in 1466. Despite this being his first work, there was little evidence of the influence of his teacher, Vecchietta. Rather, this work was very clearly inspired by Simone Martini's 1333 painting of the same name. Many other Annunciation works by other artists during Benvenuto's lifetime used landscapes and backgrounds, but Benvenuto employed a more simple gold ground that was typical in works of the early Trecento. Benvenuto's 1466 version resides in the church of St. Girolamo in Volterra. Benvenuto's growth as an artist is evident through comparison of his 1466 Annunciation with his 1470 version. In 1466, Benvenuto opted for a more subtle coloration in his work. However, in 1470, while many of his contemporaries still utilized softer palettes, Benvenuto chose to paint with rich, deep colors that pleased the viewer's eye. This shift in style is likely to have been inspired by two artists that were quite famous during the latter part of the Quattrocento, Girolamo da Cremona and Liberale da Verona. Additionally, Benvenuto traded in his previous flat gold background for one of detailed scenery, including lush gardens, mountains, and lakes. This painting, done by many artists, depicts Adam and Eve being cast out of the Garden of Eden by the archangel, Jophiel. However, Benvenuto's version stands out from the others because his depiction of Eden is far more realistic than that of other artists. He paints Eden as a lush green forest rather than a land full of a myriad of plants and animals. He expertly constructs the figures in a way that makes the subjects come alive through the intermingling of their arms and angling of their bodies. Most likely painted between 1480 and 1500, this exhibits Benvenuto's later style that combines realistic backgrounds and dramatic subjects. At this time, nothing is known of this painting's provenance, or ownership, before 1921, when it became a part of the Engel-Gros Collection. In fact, even the validity of who may be the artist of this painting underwent speculation. Expulsion from Paradise is unsigned and was originally attributed to Benvenuto's son, Girolamo. The credit continued to be given to his son for quite a while, until it was also given to Cosimo Tura, and then finally to Benvenuto, which was settled upon by art historians. Despite the credit eventually being given to Benvenuto, it is likely that this confusion arose in the first place due to their probable collaboration on the piece. Towards the end of his life, Benvenuto regularly worked with his son, which this piece seems to exhibit. The design itself appears to be Benvenuto's, but certain aspects point towards the assistance of his son. The details of the figures' faces, as well as their shaping, is in a style that is typical of Girolamo. == Minor works ==

The Adoration of the Magi This theme is one that has been depicted in Italian paintings since the Middle Ages, but it became particularly popular with Sienese painters after Bartolo di Fredi created his triptych to decorate the altar of the Three Kings in the Siena Cathedral. After this creation, Bartolo's influence began to be seen in nearly every Sienese painting of the same theme, including Benvenuto's. However, the influence of other artists is evident as well. It is believed that Benvenuto's version was inspired by Gentile da Fabriano's 1423 version that was commissioned by the Church of Santa Trinità. It is believed that these paintings were created in or around 1491 due to the similarities in the landscapes of The Crucifixion and Benvenuto's 1491 Ascension. Painting the Virgin Mary fainting is an artistic choice that was very common in fourteenth-century Sienese representations of this event. However, what was not common, was Benvenuto's choice to include the children on the hill in the upper left corner. They are, from a distance, pointing towards and spectating the cruelty that is occurring in the center of the painting. This inclusion had never been made before, thus, it exemplified Benvenuto's creativity and inventiveness. == Extant signed and dated paintings ==

Benvenuto has 11 signed and dated paintings that are still surviving. Their dates of creation span 43 years. Christ in Limbo 1491 National Gallery, Washington DC == Legacy ==

As stated previously, Benvenuto's only known follower was his son, Girolamo. Nonetheless, it is believed that he did have influence upon other artists during his life. Specifically, works by the Sienese painter, Andrea di Niccolò, show significant evidence of Benvenuto's influence. In her dissertation, Diane Vatne details this connection, showing that Andrea and Benvenuto had a lifelong relationship, beginning with Benvenuto writing Andrea's tax returns in 1481 and continuing through Benvenuto's influence upon Andrea's work. However Andrea was not a follower or student of Benvenuto, the latter's influence was a mere result of proximity, both physically and emotionally. ==Gallery==

File:Virgin and Child, Benvenuto di Giovanni.jpg|Virgin and Child (c.1465–70), Tempera and gold on panel, 16 1/16 x 11 3/4 in. (40.8 x 29.8 cm) Clark Art Institute == References ==