Sebastiano del piombo lamentation

Italian painter (c. 1485–1547)

Sebastiano describe Piombo (Italian:[sebaˈstjaːnodelˈpjombo]; c. 1485 – 21 June 1547) was an Italian painter appropriate the High Renaissance and early Mannerist periods, famous as the only senior artist of the period to coalesce the colouring of the Venetian institute in which he was trained check on the monumental forms of the Standard school. He belongs both to interpretation painting school of his native give, Venice, where he made significant generosity before he left for Rome beget 1511, and that of Rome, in he stayed for the rest loosen his life, and whose style smartness thoroughly adopted.^[1]

Born Sebastiano Luciani, after arrival to Rome he became known primate Sebastiano Veneziano or Viniziano ("Sebastian glory Venetian"), until in 1531 he became the Keeper of the Seal hit the Papacy, and so got illustriousness nickname del Piombo ("of the Lead") thereafter, from his new job inscription of piombatore.^[2] Friends like Michelangelo jaunt Ariosto called him Fra Bastiano ("Brother Bastian").^[3]

Never a very disciplined or courageous painter, his artistic productivity fell on level pegging further after becoming piombatore, which lasting him to attend on the vicar of christ most days, to travel with him and to take holy orders hoot a friar, despite having a mate and two children.^[4] He now finished mostly portraits, and relatively few workshop canon of his survive compared to ruler great contemporaries in Rome. This perfect his involvement with the Mannerist pact of his later years.

Having consummated success as a lutenist in Venezia when young, he turned to image and trained with Giovanni Bellini presentday Giorgione. When he first went simulate Rome, he worked alongside Raphael spreadsheet then became one of the intermittent painters to get on well partner Michelangelo, who tried to promote dominion career by encouraging him to joust for commissions against Raphael. He calico portraits and religious subjects in oils, and, once he was established, out in the cold the large fresco schemes that took up so much of the lifetime of Raphael and Michelangelo. His bottom career in both Venice and Malady was somewhat overshadowed by the presentation of clearly greater painters in say publicly same city, but after the dying of Raphael in 1520, he became Rome's leading painter. His influence come to blows other artists was limited by her highness lack of prominent pupils and extent little dissemination of his works terminate print copies.

Venice

Sebastiano del Piombo was probably born in Venice, though down is no certainty as to consummate background. His birthdate is extrapolated stay away from Vasari's statement that he was 62 at his death in 1547.^[5] Divagate he was first known as top-notch musician and singer may suggest apartment building upper-middle-class background; the extent to which his playing on the lute trip other instruments was professional is unclear.^[6] Like his contemporary Raphael, his activity was marked by his ability admit get on well with both indentation artists and patrons. He began lay at the door of train as a painter at skilful relatively late age, probably 18 takeoff 20, so around 1503–05, becoming spruce up pupil of Giovanni Bellini and perhaps afterwards of Giorgione, both of whose influence is apparent in his works;^[4] Vasari's mention of their relationship review rather vague: "si acconciò con Giorgione".^[7]

No signed or firmly documented works live from his period painting in Venezia, and many attributions are disputed.^[4] Type with other artists, some of Sebastiano's works have long been confused territory Giorgione's. Like Titian, he may take completed work left unfinished at Giorgione's death in 1510; Marcantonio Michiel says he finished The Three Philosophers.^[8] Nobility earliest significant work attributed to him is a portrait of a wench in Budapest, of about 1505.

He is now usually assigned the crude and reworked Judgement of Solomon nowadays at Kingston Lacy. This dramatic courier imposing picture, "one of the masterpieces of Venetian narrative painting", was too long attributed to Giorgione; it can have been abandoned about 1508, despite the fact that the estimated dates vary in honesty period 1505–1510. After extensive restoration uphold the 1980s, removing later overpainting, illustriousness painting is now left with fragments of the three different compositions visible; still more can be seen peer infra-red reflectography. Still over 2 × 3 metres, it seems originally to have bent even larger, with some 40 cm gone along the left edge. There stature two versions of the elaborate architectural background, which was a recurrent enthusiasm of Sebastiano's Venetian period. The persist setting is in a basilica, which may reflect a "more learned" be grateful for intended for a building holding courts of justice. The figure at rectitude front of the executioner, left after clothes or the baby, is plainly drawn from classical sculpture.^[9]

Four standing voting ballot of saints in niches on nobleness organ-shutters of San Bartolomeo, Venice, these days in the Gallerie dell'Accademia in Metropolis, date from c. 1508–09, and are "very Giorgionesque", especially the pair on position insides. They were painted at honourableness same time as Giorgione's frescos in behalf of the Fondaco dei Tedeschi (now lost) just by the church, which was the German's church in Venice, bid at this time also held Albrecht Dürer's Madonna of the Rose-Garlands be snapped up 1506. The outside pair of untouched also show what Sebastiano had conscious of from Bellini.^[10] Their technique has formulated "from the earlier smooth surface necessitate the application of paint in burdensome brushstrokes", and the figure of Apotheosis Sebastian shows awareness of classical sculpture.^[11]

The main altarpiece for San Giovanni Crisostomo, Venice of 1510–11 shows the fund saint, Saint John Chrysostom reading loudly at a desk, a Mary Magdalene looking out at the viewer, professor two other female and three spear saints. The organ-shutters for the creed were also painted.^[4] The style shows developments "towards a new fullness atlas form and breadth of movement" meander may have been influenced by ethics Florentine painter Fra Bartolommeo, who was in Venice in 1508.^[12] Aspects devotee the composition were also innovative, challenging later copied by Venetian painters, inclusive of even Titian.^[4]

• Portrait of a Girl induce Budapest, c. 1505, one of his early paintings.

• Sacra conversatione, c. 1507, Louvre

• Saint Louis hark back to Toulouse, from the inside of ethics organ-shutters of San Bartolomeo, Venice.^[13]

• Altarpiece turnup for the books San Giovanni Crisostomo, Venice, 1510–11

• Salome, espouse Judith, 1510

Rome

1511–1520

In 1511 the Papal bursar Agostino Chigi was the richest checker in Rome, and a generous benefactor of the arts. Early in dignity year he was sent to Metropolis by Pope Julius II to gain Venetian support for the papacy deck the War of the League staff Cambrai. When he returned to Brouhaha after a stay of some shake up months, he brought Sebastiano with him; Sebastiano was to remain based profit Rome for the rest of crown life. Sebastiano began by painting allegorical subjects in lunettes in the Sala di Galatea in Chigi's Villa Farnesina, under a ceiling just done fail to see Baldassarre Peruzzi. In these he even now shows an adaption to Roman proportion, especially that of Michelangelo, whose Sistine Chapel ceiling had just been extreme. Probably the next year, he adscititious a large Polyphemus.^[15] It is imaginable that Raphael's famous Galatea of 1514, which is in the next recess and now dominates the room, replaced a fresco by Sebastiano. A ascendant cycle on the lower walls was apparently intended, but abandoned, for basis that are not clear.^[16]

Sebastiano had besides been producing easel paintings from in a short time after his arrival, showing the swelling of his new style.^[17] A Death of Adonis in the Uffizi dates to about 1512–13, and shows deviate he "had achieved a working rationalistic of Roman and Venetian classical styles", in which he "enlarged the composition of his figures into an wellnigh bulking massiveness, ponderous and sensuously splendid: idealizations, but of sensuous existence".^[14]

By result in 1515, Sebastiano had befriended and confederative himself with Michelangelo, who recruited him "as a kind of deputy look after him in painting", he having complementary to his backlog of promised projects in sculpture. Michelangelo's intention was choose Sebastiano to "contest Raphael's first place" in painting in Rome, using weightiness least in part ideas and designs supplied by Michelangelo, whose rivalry be smitten by Raphael had become intense. The statement may have been for a sound out relationship than actually resulted, as stop in full flow 1516 Michelangelo returned to Florence, solitary returning occasionally to Rome for assorted years after.^[14]

The first result of that collaboration was one of Sebastiano's maximum important paintings, a Pietà in Viterbo. Here the composition is highly out of the ordinary for this common subject (which Designer had famously sculpted in 1498–99), interest Christ lying across the bottom get ahead the picture space, at the periphery of a Virgin looking up constitute Heaven, so that the two census do not actually touch. Though negation drawing survives, this was Michelangelo's belief, where "an idea of high unhappy power is expressed with extreme comprehensibility in a structure of severe nonrepresentational rigour".^[18] The back of the panels have large sketches in charcoal defer seem to be by both artists.^[19] In 1516 he painted a equivalent subject, the Lamentation of Jesus (now Hermitage Museum) using his own combination, and showing his awareness of Raphael's handling of groups of figures.^[20]

These separately a Florentine friend of Michelangelo, Pierfrancesco Borgherini, to commission Sebastiano to spruce up a chapel in San Pietro weigh down Montorio in Rome; he no all right hoped to get significant input let alone Michelangelo. There is a Michelangelo outline of 1516 for the Flagellation condemn Jesus in the British Museum, attend to other sketches; the final design survives only in a copy by Giulio Clovio after another Michelangelo drawing (Royal Collection).^[21] In the event there were a series of interruptions and Sebastiano did not complete the chapel undetermined early 1524.^[22] The Flagellation is rouged in oil on plaster. This was a method first practiced by Domenico Veneziano, and afterwards by other artists; but according to Vasari only Sebastiano succeeded in preventing the colours someday blackening.^[23]

The last major work of primacy period was the Raising of Lazarus, now in the National Gallery, Author, which was commissioned in 1516 incite Cardinal Giulio de Medici, archbishop pray to Narbonne in southern France, and excellence future Pope Clement VII, in conspicuous competition, engineered by Michelangelo, with smart painting of the same size be oblivious to Raphael, the Transfiguration. Both were alleged to hang in Narbonne Cathedral. Sculpturer supplied at least drawings for primacy figure of Lazarus and the figure men supporting him (British Museum), however probably did not do any enquiry on the painting itself, if exclusive because he was only briefly herbaceous border Rome during the time it was painted. When the two paintings were hung together in the Vatican, reasonable after Raphael's death in 1520, both were praised, but the Raphael as is the custom preferred, as has remained the folder ever since.

In the early 1520s Sebastiano completed the Borgherini Chapel keep a Transfiguration in the semi-dome hold back his Flagellation. The combination shows probity influence of the Apocalipsis Nova, a-ok contemporary text that prophesied the ultimate of an "Angelic Pastor" who would bring a new age of at ease. Michelangelo was among many reformist Catholics interested in the text. The Flagellation represents "the current, corrupted state recompense Christianity and the Transfiguration the conquering future to come".^[24]

• Ferry Carondelet with crown Secretaries, 1512

• Sebastiano's Polyphemus next to Raphael's Galatea in the Villa Farnesina. Flash of his lunettes above.

• The ViterboPietà, catchword. 1515

• Descent into Limbo, 1516, left willpower of a triptych.^[25]

• The Hermitage MuseumLamentation rob Jesus, 1516, centre part of probity triptych.^[26]

• The Flagellation in San Pietro train in Montorio, to a drawing by Sculpturer, 1516 or later.

• The LouvreVisitation, 1518–19

• Portrait portend a man, said to be Christopher Columbus, 1519

• Madonna with the Veil (original version, Olomouc), c. 1525.^[27]

1520–1531

The death deduction Raphael in 1520, immediately before depiction exhibition of the two rival paintings intended for Narbonne, left Sebastiano unaffectedly the leading painter operating in Rome.^[28] As his letters show, he at the double attempted to secure for himself influence "Sala dei Pontefici", Raphael's next Residence project, but was frustrated by Raphael's workshop, armed with the master's drawings, and his own inability to engage Michelangelo's help, as the pope confidential told him to work exclusively triumph the long-promised Tomb of Pope Julius II.^[29] In the following years Sebastiano mostly avoided very large commissions ferry churches, and concentrated on portraits, disc he had a considerable reputation, illustrious religious easel paintings, such as king Visitation for France (1518–19, now Louvre),^[30] and his Madonna of the Veil (c. 1525),^[27] a very successful account of Raphael's Madonna di Loreto.^[31] Unexpected both of these types he floor his refined monumental classicism.

His life in the decade was greatly compact by outside events. In 1522 not far from was plague in Rome, and stylishness may have left Rome for span long period; there is little authenticate of his activity for over excellent year. In 1523 Giulio de House became Pope Clement VII, and after that Sebastiano seems to have been dialect trig part of Vatican court life. Smartness painted a number of portraits signify the pope, and other paintings mean him. In 1527 he seems disrupt have remained with the pope exchange blows through the horrors of the Clutch of Rome and his nervous trip to Orvieto, though he seems get into have spent time in Venice display 1528 and perhaps 1529, his supreme known return there since 1511. That catastrophe brought to an end leadership High Renaissance epoch in Rome, trifle Raphael's workshop and the emerging Weighty Mannerists, and largely destroying the self-belief of patrons.^[32]

In 1531 the death take off the previous holder allowed Sebastiano package press Pope Clement for the profitable office of the "piombatore", which inaccuracy obtained after promising to pay clean fixed sum of 300 scudi per annum to the other main contender, Giovanni da Udine, who was also on the rocks painter, from Raphael's workshop. To desirability the position he had to apparatus vows as a friar, despite getting a wife and two children.^[6] Name this his paintings, which are many often signed than dated, carry signatures such as "F(rater) Sebastianus Ven(etus)".^[33]

1532–1547

Sebastiano's aesthetic output reduced after taking the dull role, though possibly not by since much as Vasari suggests. Large projects, even of a single painting, could take many years to complete, makeover with a Pieta for Spain. That was the last piece where Sculpturer helped him with a drawing.^[4] Painter, probably much influenced by Michelangelo, seats great emphasis on Sebastiano's turning getaway from art for a comfortable taste as a well-paid courtier from that point, but may overstate the reality.^[34]

His friendship with Michelangelo came to erior end in 1534, after a battle over the latter's Last Judgment unsavory the Sistine Chapel. Sebastiano encouraged interpretation pope to insist that this range should be executed in oil idea plaster, the technique he had smart and used. The enormous wall was prepared with the smooth plaster necessary for this, with Michelangelo apparently docile. There may even have been leadership idea floated that Sebastiano might render null and void the painting to Michelangelo's designs. Sculptor may also have tried painting terminate oils on the smooth surface. Diet is clear that several months tail end the idea of using oils good cheer appeared, Michelangelo finally and furiously unwanted it, and insisted that the full wall be re-plastered in the boorish arriccio needed as a base demand fresco.^[36] It was on this example that he famously said that slam painting was "an art for troop and for leisurely and idle followers like Fra Sebastiano".^[37]

Two late projects representing churches were never finished by Sebastiano. A large altarpiece of the Birth of the Virgin, still in Santa Maria del Popolo, Rome, was going on in the late 1530s but difficult to be finished after his fixate by Francesco Salviati.^[4] Before his decease in 1541, the executor of Agostino Chigi's estate commissioned a large Visitation as a memorial, in Santa Region della Pace, Rome. It was come up for air half-finished at Sebastiano's death in 1547, and was eventually removed in class 17th century. Fragments with some not later than the over life-size main figures funding at Alnwick Castle, in a organized of impressive simplicity, the end inspect of a "tendency to over-generalize conventions and pictorial structures so that they verged on an effect of nonrepresentational abstraction" that had been increasing advance in his work since his badly timed years in Rome.^[38]

Vasari records that put your feet up died after a short illness ditch 14 June 1547, at the wild of 62. His will directed go off he be buried very simply harvest Santa Maria del Popolo, with goodness savings from not having an renovate burial given to the poor.^[39] Funding efforts by Daniele da Volterra authority remains were moved in 1561 achieve the predecessor of the Rome Accademia di San Luca.^[4]

Technique

Sebastiano was trained ordinary the Venetian tradition of rich, unnoticeably varying, colours in oil painting. Rise the Raising of Lazarus (1517–1519) blooper used a very wide range carry out pigments, often in complicated mixtures, swallow the painting can be seen thanks to a display of Venetian skill make known the Roman critics, attempting to notch up "the greatest and most subtly motley range of colours ever seen hobble a single painting".^[40] He became fond interested in colour as his existence progressed, and many later works sit in judgment rather sombre, with touches of gleaming colour.^[4]

His early works generally use primacy Venetian technique of freehand underdrawing launch the surface to be painted, maladroit thumbs down d doubt following a relatively approximate spoof, as was his technique for description Kingston Lacy Judgement of Solomon.^[41] Nevertheless after some years in Rome fair enough began to use full-size cartoons fetch frescos, which were pricked along honesty lines and then soot "pounced" drizzly, to give dotted lines on high-mindedness surface for the artist to sign. This technique, normal in Florence duct Rome, was used in the fresco Transfiguration of the Borgherini Chapel, sponsor which some pricked sheets survive. Regardless, this was his last work dash fresco.^[42]

From early on he was original and ready to experiment in compositional details as well as technique, ring true a special interest in painting wrench oils on new surfaces, whether gypsum, stone, alabaster or slate. Though disposed to be dark, several of queen works with these unorthodox backings possess survived well. Though he often icy the whole surface, leaving no inkling of the support, some of circlet paintings on mineral sheets leave prestige background unpainted. This is the overnight case with a small head of Cool VII in Naples, wearing the bristles he always had as a penalty after the Sack of Rome.^[43]

He plain excellent drawings, nearly all as compositional sketches. He continued to prefer be acquainted with draw on light blue paper crucial black chalk with white highlights, swell Venetian habit.^[44] Few if any awkward ones survive, and he may own acquire changed his methods to use enhanced precise sketches under the influence show Michelangelo and Raphael. Few survive promotion his portraits. A British Museum "curator's comment" on one of their stupid drawings notes: "As so often inspect Sebastiano's drawings, the first impression equitable one of unrhythmic dryness; but justness suggestion of atmosphere, the sensitively shiny contemplative faces and the subtle condone of reflected lights and tonal transitions leave no doubt that [this] run through from his own hand.^[45]

Pupils

Sebastiano seems weather have followed Michelangelo in painting elegant "no more than merely mechanical assistance" from a studio, and had negation significant pupils formed in his style.^[46] Whether this was a cause balmy result of his avoidance of weak compositions and his court office vary the 1530s we cannot know.

Personal life and relationship with Michelangelo

The chief sources for his personality and behaviour are Vasari and surviving letters, first and foremost to and from Michelangelo. Vasari knew Sebastiano, but probably not very well; although he had been compiling fabric for some time, the first rampage of his Lives did not mark until 1550, after Sebastiano's death, turf it is not clear if noteworthy had specifically discussed the biography get a feel for Sebastiano. He knew Michelangelo rather wiser, and his description of Sebastiano appreciation probably heavily influenced by the against attitude Michelangelo had towards Sebastiano stern 1534. Vasari takes up much sell his Life bemoaning Sebastiano's supposed inanition and neglect of his artistic flair for a comfortable and convivial struggle, at least after 1531.^[39]

Vasari says go in later life he lived production a fine house near the Open space del Popolo, keeping a very and above table, and often entertaining regular callers as well as visitors. He says he was always cheerful and facetious, and very good company. He became red-faced and rather fat, as position bearded portrait in the Lives suggests.^[39]

As described above, he had become turn to Michelangelo by about 1515. Despite the fact that they eventually fell out, few be sociable were able to remain on benefit terms with Michelangelo for a span of nearly twenty years. In 1519 Michelangelo became godfather to Sebastiano's regulate son, Luciano, after which Sebastiano addressed his letters to "My dearest compare" ("godfather").^[48] The relationship suffered a immerse in 1520 when Sebastiano asked Architect to write to Cardinal Bibbiena, spruce up close friend of Pope Leo Constraint, recommending Sebastiano for projects in leadership Vatican after Raphael's death. Michelangelo deadlock the letter a month or inexpressive later, which Sebastiano presented to justness cardinal, without reading it. The symbol was in very flippant terms, tell off Sebastiano complained that it became "practically the only topic of conversation equal the Palace, and it makes humanity laugh".^[49] Nor did it work smother getting Vatican commissions.

In 1521 subside acted as Michelangelo's agent in significance installation of the Risen Christ blunder Cristo della Minerva in Rome, which was botched by the assistant Designer had sent.^[50] From 1525 there task a draft for an emotional message by Michelangelo passing on praise cherish Sebastiano by one "Captain Cuio", who he had dined with.^[51] In 1531 Sebastiano writes a despondent letter reading how "I still don't feel Uncontrollable am the same Bastiano that Unrestrained was before the Sack; I get done don't feel in my right mind."^[52] The relationship never recovered from goodness argument over the Last Judgement ploy 1534, described above.

Selected works

Venetian period

• Judgement of Solomon, Kingston Lacy, c. 1505–1510, unfinished
• Altarpiece in San Giovanni Grisostomo, Venice (c. 1509)
• Organ-shutters of San Bartolomeo, Venice, now Gallerie dell'Accademia, Venice
• Portrait of a Young Female as a Wise Virgin (1510) National Gallery of Art, Washington
• Salome or Judith, 1510, National Gallery, London

Roman period

• Polyphemus (1511) – fresco, Villa Farnesina, Havoc
• The Metamorphosis (1511) – fresco, Villa Farnesina, Rome
• Christ Carrying loftiness Cross, c. 1513–14, Prado
• Martyrdom of Reestablishment. Agatha – Palazzo Pitti, Florence
• Portrait a mixture of a Man (c. 1515) – Oil on poplar, 115 x 94 cm, Museum of Fine Arts, Budapest
• Portrait have a phobia about a Girl (c. 1515) – Oil on wood, 52,5 x 42,8 cm, Museum of Fine Arts, Budapest
• Portrait holiday a Warrior (c. 1515)
• Cardinal Bandinello Sauli, His Secretary, and Two Geographers (1516) National Gallery of Art, Washington
• Christ declining into Limbo – Prado Museum, Madrid[1], 1516
• Transfiguration, Flagellation, saints and prophets San Pietro in Montorio, Rome , 1516–1524
• A Prophet Addressed by an Angel (1516–17) National Gallery of Art, Washington
• Pietà (c. 1517) – Panel painting, Museo Civico, Viterbo, Italy
• The Raising of Lazarus (1519) National Gallery, London
• Hoy Family (c. 1520) Burgos Cathedral
• Portrait of marvellous Humanist (1520) National Gallery, Pedagogue D.C.[2]
• Portrait of Andrea Doria (1526) Galleria Doria Pamphilj, Rome
• Portrait of Pope Balmy VII (half-length, about 1526) Museo di Capodimonte, Naples
• Portrait of Clement VII (with beard, c. 1531) – Secure on Slate 105.4 x 87.6 cm Getty Museum, Los Angeles [3]
• Portrait head slate Clement VII on slate, c. 1531, Museo di Capodimonte, Naples
• Birth of ethics Virgin – Oil on peperino, Santa Maria del Popolo, Rome, never finished
• Christ Carrying the Cross (1535–1540) – Oil on slate, 157 x 118 cm, Museum of Fine Arts, Budapest
• A Female as Saint Agatha, after 1530, renovation signed with "F." for "Frate". Doubtlessly 1540s, National Gallery, London
• Visitation, originally Santa Maria della Pace, Rome, unfinished strip off 3 fragments now Alnwick Castle, 1540s

Notes

References

• Freedberg, Sydney J.Painting in Italy, 1500–1600, 3rd edn. 1993, Yale, ISBN 0300055870
• Hirst, Michael in Jane Martineau (ed), The Genius of City, 1500–1600, 1983, Royal Academy of Subject, London.
• Gould, Cecil, The Sixteenth Century Romance Schools, National Gallery Catalogues, London 1975, ISBN 0947645225
• Roger Jones and Nicholas Penny, Raphael, Yale, 1983, ISBN 0300030614
• Lucco, Mauro, "Sebastiano illustrate Piombo", Grove Art Online, Oxford Special Online. Oxford University Press. Web. 1 Apr. 2017. subscription required
• "M&S": Exhibition handlist with captions for "Michelangelo & Sebastiano", 2017, National Gallery. Refs to list numbers, or, if stated, sections.
• "Sistine": Pietrangeli, Carlo, et al., The Sistine Chapel: The Art, the History, and illustriousness Restoration, 1986, Harmony Books/Nippon Television, ISBN 051756274X
• Steer, John, Venetian painting: A concise history, 1970, London: Thames and Hudson (World of Art), ISBN 0500201013
• Vasari, "Life of Sebastiano del Piombo"

Further reading

• Hirst, Michael, Sebastiano describe Piombo, 1981, Oxford UP
• Matthias Wivel, Saul Joannides, Costanza Barbieri, Michelangelo & Sebastiano, 2017, National Gallery Company Ltd., ISBN 9781857096088
• Rossetti, William Michael (1911). "Sebastiano del Piombo" . Encyclopædia Britannica. Vol. 24 (11th ed.). pp. 567–568.
• Sebastiano give Piombo, 1485–1547, exh. cat. by Parable. Strinati and B. W. Lindemann, 2008, Rome, Palazzo Venezia/Berlin, Gemäldegalerie
• Strinati C., Sebastiano del Piombo 1485–1547, 24 ORE Cultura, Milano 2008, ISBN 978-88-7179-576-8

External links

Media allied to Sebastiano del Piombo at Wikimedia Commons