Tommaso Laureti
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| [[Image:Tommaso.Laureti.Triumph.of.Christianity.jpg|right|thumb|200px|''"Triumph of Christianity"'' by [[Tommaso Laureti]] ([[1530]]-[[1602]]), ceiling painting in the [[Sala di Constantino]], [[Vatican City|Vatican Palace]]. Images like this one celebrate the destruction of ancient [[Paganism|pagan]] culture and the victory of Christianity.]] | [[Image:Tommaso.Laureti.Triumph.of.Christianity.jpg|right|thumb|200px|''"Triumph of Christianity"'' by [[Tommaso Laureti]] ([[1530]]-[[1602]]), ceiling painting in the [[Sala di Constantino]], [[Vatican City|Vatican Palace]]. Images like this one celebrate the destruction of ancient [[Paganism|pagan]] culture and the victory of Christianity.]] | ||
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| - | '''Tommaso Laureti''', often called '''Tommaso Laureti Siciliano''' ([[Palermo]] c. [[1530]] — [[22 September]] [[1602]]),<ref>G. Baglione, ''{{lang|it|Le vite dei pittore}}'' (Rome) 1642:</ref> was a [[Sicily|Sicilian]] painter who trained in the atelier of the aged [[Sebastiano del Piombo]] and worked in [[Bologna]] and, from 1582, for papal patrons in Rome in a Michelangelo-inspired style with special skill in illusionistic perspective that in his Roman work avoided all but traces of [[Mannerism]] (Freedberg 1993:654). | + | '''Tommaso Laureti''', often called '''Tommaso Laureti Siciliano''' ([[Palermo]] c. [[1530]] — [[22 September]] [[1602]]), was a [[Sicily|Sicilian]] painter who trained in the atelier of the aged [[Sebastiano del Piombo]] and worked in [[Bologna]] and, from 1582, for papal patrons in Rome in a Michelangelo-inspired style with special skill in illusionistic perspective that in his Roman work avoided all but traces of [[Mannerism]] (Freedberg 1993:654). |
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Tommaso Laureti, often called Tommaso Laureti Siciliano (Palermo c. 1530 — 22 September 1602), was a Sicilian painter who trained in the atelier of the aged Sebastiano del Piombo and worked in Bologna and, from 1582, for papal patrons in Rome in a Michelangelo-inspired style with special skill in illusionistic perspective that in his Roman work avoided all but traces of Mannerism (Freedberg 1993:654).
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