Bernardino Campi (1522 - Aug 18, 1591) was an Italian Renaissance painter from Reggio Emilia, who worked in Cremona. He is known as one of the teachers of Sofonisba Anguissola and of Giovanni Battista Trotti.
CAMPES (Field), Bernardino. - Born in Cremona in 1522, by a Pietro orefice and by Barbara. We do not know if it is related to the other Fields, but the silence of the oldest sources (A. Campo, Lamo) seems to suggest a negative hypothesis; A kinship relationship settled later, when a niece of C., Margherita Biffi, married Claudio Campi, son of Antonio.
In Cremona, his extended family were the main artistic studios. Giulio Campi and Antonio Campi, half-brothers, were distant relatives of Bernardino; the latter is generally considered the most talented of the family. All were active and prominent painters locally. Influences on Bernardino's are likely diverse, including those from local Cremonese such as Camillo Boccaccino, to artists from neighboring regions such as Correggio, Parmigianino and Giulio Romano.
Bernardino was commissioned by Vespasiano Gonzaga to lead a team of artists including Pietro Martire Pesenti in the interior decoration, including frescoes by Bernardino, of the Palazzo del Giardino in Sabbioneta, near Mantua.
Among his pupils were Giovanni Antonio Morandi, Andrea Mainardi, and Pietro Martire Pesenti, both active in the Palazzo of Guastalla.
After joining a goldsmith in his father's shop, C. entered the studio of Giulio Campi and later - moving to Mantua - in that of Ippolito Costa (1538-39) working in the circle of Giulio Romano, then active in the Troy Room in Ducal Palace.
In 1541 C. returned to his homeland and began to work on his own. This is where the oldest work recalled by Lamo, the frescoes (lost) of Trivulzio in Formigara (Stories of Minerva, Naval Battle, Assault at a fortress) that came to C. soon became known. Immediately after the artist executed the doors of the organ of the Alba duomo (by Giulio Campi, 1541) by bishop and humanist G. Vida. From 1542 they are the pair of the Assumption of St. Agatha in Cremona and the frescoes of the church of S. Bassano in Pizzighettone (including a great Crucifixion in the interior facade).
This first group of works - to which the Madonna on the throne and saints of the Pinacoteca di Cremona (1548, already in St. Francis) must be added - allows to understand the richness of the formation components of C.'s eclecticism (from Giulio Campi to Giulio Romano, from Parmigianino to Primaticcio and Camillo Boccaccino) that soon tends to behave in an elegant and measured manneristic figure, which characterizes a stylistic path that is ever alien to be worn or raised. Particularly decisive is the suggestion of the parmigianinesque hardening of Camillo Boccaccino (frescoes by S. Sigismondo), which however C. interprets with "a sweetened and Christianized temperament" (Longhi).
The approach to Boccaccino is clearly reflected in the vault of the SS chapel. Filippo and Giacomo, in S. Sigismondo, performed by young C in 1546, thanks to the interest of Boccaccino himself (Lamo), whom perhaps the artist could use ideas and drawings. His relationship with Boccaccino is, moreover, underlined by the news reported by Lomazzo that C. had written a biography (now lost) of Boccaccino. C.'s affair and activity (except for his extreme years) gives us the details of the Lamo in his Discourse published in 1584. His rapid fortune is related to his particular valentine in the genre of the portrait: C. Was invited to perform portraits in Piacenza by the Pallavicini, Milan by Alessandro Sesto and - shortly after - by the princess Isabella of Molfetta, wife of the governor Ferrante Gonzaga (1550). The successor of Gonzaga, Francesco Ferdinando d'Avalos Marquis of Pescara, will nominate C. in 1562 his "family and gentleman" (and already in 1554 Ippolita Gonzaga had also created his "family" after being portrayed by him and committed him Copies of portraits of illustrious men kept in Como in the collection of Monsignor Giovio). C.'s portraiture, which seems to be the most prestigious part of his artistic activity (Lamo remembers more than a hundred examples), is unfortunately almost unknown to us.
In addition to portraiture inserts in sacred paintings (clients in the Assumption of Saint Agatha and in the Crucifixion of the Fiesole Badia), only a portrait was recognized by C .: Prospero Quintavalle, already in Vienna and in 1939 in Collez. Dutch (Bocconi), identified by Frimmel (1908) with that described by Lamo as before 1557 (and an old written in the verse of the painting - in addition to the artist's name and the retractor - dates back to 1556). To this, he proposed adding Francesco Sfondrati to the Museum of Fine Arts in Boston (E. Tietze-Conrat) and a Portrait of a Woman in the Metropolitan Museum in New York (Fredericksen-Zeri). Quintavalle, canon of Reggio's cathedral, rewarded the artist during a trip to Piacenza, Parma and Modena, to study the paintings of Pordenone, Correggio and Parmigianino. Certainly, a reflection of C.'s portraiture can be seen in the exquisite production of Sofonisba Anguissola, a pupil of C. since 1546 (on April 28, 1554, F. Salviati will write a letter from Rome to C. - reported by Lamo - in Who expresses his admiration in equal measure for his works in Milan and for being an maestro of the Anguissola: "the beautiful painter cremonese your bill").
Of the many works of Milan (in addition to portraits, frescoes in private houses) there are only some altarpiece, including the Transfiguration of S. Maria della Scala (now in S. Fedele, drawing in Teyler's Museum in Haarlem), Virgin with Child and saints in S. Antonio Abate (both dated 1565), the Circumcision (1572) and the Deposition (1573) of Brera, and the Assumption of St. Alexander. To these works, it is possible to add the great Crucifixion on the table of the foliage of Fiesole (deposition of the Uffizi), in which Zeri (1953) recognized the ancona performed by C. for the Genoese school in Milan - as the Lain writes - For the commission of Thomas of Marino (embellished at the foot of the cross) around the seventh decade. In the polished and crystallized manner of C., there seems to be a strong "Romanesian" suggestion, Flemish, that Zeri connects to a possible presence in Cremona by Frans Floris during the Italian trip. C.'s search, more than ever alien to the natural attempts by Antonio and Vincenzo Campi, seems to reach a singular parmense of elegance (Mazzola Bedoli) and fierce "Flemish" truth. The formulation of such a difficult measure did not, furthermore, have to be extraneous to the continuous relations of the artist with the Gonzaga and the capacious classicist taste they fed.
In 1560 the C. - renouncing the commission of the doors of the Duomo organ of Milan (see for this Annali del Duomo, IV, Milan 1881, pp. 32, 34, 56) - accompanied the marquis of Pescara to Mantua and performed He copies the eleven Cesari of Titian (adding his own bust of Domiziano). In the following years, C. had to execute four more Cesari series, commissioned by the Emperor, Duke of Alba, and other commissioners (one of these series of the Capodimonte Museum in Naples, was dismantled by giving two Cesari on delivery The Villa Rosbery). Of the 1567 are the frescoes in Castello Trivulzio (then Trecchi) in Maleo. On July 30, 1568, C. wrote to Vespasiano Gonzaga by sending him a S. Cecilia: this is the first testimony of the artist's relations with the court of Sabbioneta. That same year is a trip to Genoa.
Returning to his homeland (1568) after his stay in Milan and numerous trips (remembered only the most important ones), C. began an intense activity for the churches of Cremona and its territory. For S. Sigismondo he painted S. Cecilia and s. Catherine (1568), St. Jerome and s. Antonio, S. Filippo et al. Giacomo; For S. Michele a Nativity (1568); For the duomo a group of six canvases (1569) and a fresco in the choir with the entrance of Christ in Jerusalem (1573). Remember also two blades for S. Maria della Croce in Crema (1575-76) and two others for the Marquis Stampa di Soncino. The most prestigious undertaking of this period is the fresco of S. Sigismondo with the Glory of Paradise (1570), in which C.'s style touches an unusual and magniloquent illusionistic dimension (perhaps corroborated by the examples Of Tibaldi). In the same church belong to C. other frescoes: the two Prophets in the median span (1554), the Putti frieze along the nave, the grotesques in the vault.
In 1571 C. - on behalf of Niccolò Lecco - performs frescoes in the sacrament chapel annexed to the parish of Caravaggio. In 1577 the Priory of the Certosa of Pavia (which had already instructed the artist to finish the Assumption left unfinished by the Solarium) commissioned to C. the decoration of the oratory of the castle of San Colombano at Lambro, property of the Carthusians. The oratory was demolished in 1846, only the boulder survives with the Crucifixion in the parish church of San Colombano and some fragmentary frescoes, divided between the same parish church (Dinner at Simone's house, Christ and Maddalena), Belgioioso Castle (Deposition) and The Brera Art Gallery (decorative skylights). In San Colombano, C. had to stay a different time (the last payment being September 1581) because his wife possessed goods and perhaps a house. At this time it should belong to the signed boulder - with the Oratio in the Garden now in the Civic Museum of Pavia (Arte in Pavia, Pavia 1966, pp. 80 s.) Perhaps in ancient times in the Cappuccini of Melegnano (indicated by Perotti Among the scattered works: p. 108); Evidently the relationship with Christ in the garden of Antonio Campi (1581) in the Archbishop's Art Gallery in Milan (Dell'Acqua, p. 713). Some time later we find C. a Sabbioneta (1582) at the service of Vespasiano Gonzaga Colonna, as coordinator of a large crowd of artists intending to embellish the small and precious capital (among them, stand out the plasticizer Alberto Cavalli, Fornaretto, PM Pesenti ).
C.'s direct work concerned both the ducal palace and the palace of the Garden. Despite the destruction or decay of most of the decorations, we can still find the presence of C. (which seems to find Sabbioneta a new freshness) in many frescoes of the two palaces: for example in the Diana's Cabinet (Diana and Endimione) and In the Equestrian Room (frieze) in the ducal palace; But above all to the Garden: the Venus in the ceiling of the Venetian cabinet, the airy compositions of the mirror room (perhaps suggested by the Duke); Countryside, Walking, Boarding, Hunting (for some drawings referring to the frescoes of the Garden Palace, Hamburg and England, see Italian 16th Cent. Drawings from British Collections, 1969, No. 19).
The situation seems to re-propagate shortly thereafter (1587) when Ferrante II Gonzaga invites C. to the court of Guastalla to direct the artists involved in decorating the ducal palace. The new experience was, in fact, less happy for the hostility of court men and the distance to Ferrante, who went to the bride Vittoria Doria in the feuds of Serracapriola and Molfetta. C. had frescoed the Hercules Stories and Troy Stories (lost) and executed - among other things - a new series, the sixth, of the Cesari portraits.
In the appendix to the Discourse, Lamo publishes the Opinion on painting, a brief treatise by C., who says that he has decided to write it at the request of Antonio da Udine, Vincenzo da Caravaggio and Brandimarte Della Torre. From it, valuable information is provided about the artist's operative processes (use, for example, wax models to study figures, lights and glimpses). Interestingly, the letters from C. al duca (February 1587 to November 1590) published by Campori, Sacchi, Ronchini and Sommi Picenardi (1880).
On April 20 1589 the canons of S. Prospero in Reggio entrusted to C. the two choir chapels of the chapel major, which the artist finished freshening in the same year: the Fall of Jezabele and the resurrection of the son of the widow of Naim, still on site. Although not enthusiastic about C.'s work, finding no better, the canons entrusted to him the completion of the frescoes of the greater chapel; But when the painter had just started to work, he died on 18 ag. 1591 (Campanini, 1889). He was buried in the same church.
C. left a daughter who had married her student G. B. Trotti called Malosso. In 1564 he married Anna Longaroni (as a widow retired to San Colombano) that Sofonisba Anguissola remembers with great tenderness in a letter from Spain in 1551 (Lamo). At the same painter we must have a wonderful portrait of the artist (Pinacoteca di Siena). Among his many students - besides the Anguissola sisters - I must remember, alongside Malosso (who had the masterpiece of Cremona's master since 1574), A. Mainardi said the Chiaveghino and - as a Milanese document of 1550 shows - Raffaele Crespi, the father of Cerano.
http://hisour.com/artist/bernardino-campi/
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