The Louvre: Fifty Plates in Colour

Chapter 36: THE SCHOOL OF CREMONA

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About This Book

A concise guide to key paintings in a major national museum, organized by country, school, and period from the fourteenth to the nineteenth centuries. It pairs fifty color plates with brief critical essays and descriptions that address attribution, dating, technique, dimensions, and composition, often revising official cataloguing. Illustrations span Italian, Flemish, Dutch, Spanish, German, and French schools and include practical information for visitors and the nomenclature conventions used by the authors.

THE SCHOOL OF CREMONA

THIS small and unimportant school includes Boccaccio Boccaccino (fl. 1460–1518?), who was formed on various Venetian and Milanese influences. The Holy Family (No. 1168) which is credited to him, but not now exhibited, seems to be an unattributable panel by some artist of the Lombard school. This school includes an early-sixteenth-century imitator who has received the significant name of “Pseudo-Boccaccino,” but is not here represented.

The Mater Dolorosa (No. 1202) appears to be by Bernardino Campi, a mediocre sixteenth-century painter of the Lombard and Cremonese schools. Sofonisba Anguissola (1528–1625), a female artist, was his pupil and the wife of Orazio Lomellini.