Francesco Francia, whose real name was Francesco Raibolini (1447 – 5 January 1517) was an Italian painter,
goldsmith, and
medallist from
Bologna, who was also director of the city mint.[1][2]
He may have trained with
Marco Zoppo and was first mentioned as a painter in 1486. His earliest known work is the Felicini Madonna, which is signed and dated 1494. He worked in partnership with
Lorenzo Costa, and was influenced by
Ercole de' Roberti's and Costa's style. After 1505 he was influenced more by
Perugino and
Raphael. He had a large workshop and trained
Marcantonio Raimondi,
Ludovico Marmitta,[3] and several other artists; he produced
niellos, in which Raimondi first learnt to engrave, soon excelling his master, according to
Vasari. Raphael's Santa Cecilia is supposed to have produced such a feeling of inferiority in Francia that it caused him to die of depression. However, as his friendship with Raphael is now well-known, this story has been discredited.
Crucifixion, c. 1505, 246 cm x 146 cm, oil on wood, San Giacomo Maggiore, Bologna
The life of Saint Cecilia and her husband Valerian - scene 1 (The Marriage) & 10 (The Burial), 1504–1506, 360 cm x 290 cm, frescoes,
Oratorio di Santa Cecilia, Bologna
The Holy Family, c. 1510, 64 cm x 49 cm, oil on wood,
Museum of Fine Arts, Budapest
Federico Gonzaga (son of Isabella d'Este),[7] 1510, 45 cm x 34 cm, oil on wood transferred to canvas and finally again on wood,
Metropolitan Museum of Art, New York
Portrait likely Isabella d'Este, 1511, 44 cm x 35 cm, oil on wood, Vienna
Pala Buonvisi,[8] 1510–12, 195 cm x 180 cm, oil on wood,
National Gallery, London
Virgin and the Child and the Infant St. John the Baptist,[10] 1510–15, 65 cm x 51 cm, oil on wood,
São Paulo Museum of Art
Virgin and the Child and the Infant St. John the Baptist (Francesco Francia and sons),[11] c. 1515, 115 cm x 94 cm, oil on wood,
National Gallery of Victoria, Melbourne
^Mrs Jameson (December 29, 1866). "Lives of the Early Painters: Francesco Raibolini, Called Il Francia". The American Art Journal. 6 (10): 152–153.
JSTOR25306713.
Francesco Francia, whose real name was Francesco Raibolini (1447 – 5 January 1517) was an Italian painter,
goldsmith, and
medallist from
Bologna, who was also director of the city mint.[1][2]
He may have trained with
Marco Zoppo and was first mentioned as a painter in 1486. His earliest known work is the Felicini Madonna, which is signed and dated 1494. He worked in partnership with
Lorenzo Costa, and was influenced by
Ercole de' Roberti's and Costa's style. After 1505 he was influenced more by
Perugino and
Raphael. He had a large workshop and trained
Marcantonio Raimondi,
Ludovico Marmitta,[3] and several other artists; he produced
niellos, in which Raimondi first learnt to engrave, soon excelling his master, according to
Vasari. Raphael's Santa Cecilia is supposed to have produced such a feeling of inferiority in Francia that it caused him to die of depression. However, as his friendship with Raphael is now well-known, this story has been discredited.
Crucifixion, c. 1505, 246 cm x 146 cm, oil on wood, San Giacomo Maggiore, Bologna
The life of Saint Cecilia and her husband Valerian - scene 1 (The Marriage) & 10 (The Burial), 1504–1506, 360 cm x 290 cm, frescoes,
Oratorio di Santa Cecilia, Bologna
The Holy Family, c. 1510, 64 cm x 49 cm, oil on wood,
Museum of Fine Arts, Budapest
Federico Gonzaga (son of Isabella d'Este),[7] 1510, 45 cm x 34 cm, oil on wood transferred to canvas and finally again on wood,
Metropolitan Museum of Art, New York
Portrait likely Isabella d'Este, 1511, 44 cm x 35 cm, oil on wood, Vienna
Pala Buonvisi,[8] 1510–12, 195 cm x 180 cm, oil on wood,
National Gallery, London
Virgin and the Child and the Infant St. John the Baptist,[10] 1510–15, 65 cm x 51 cm, oil on wood,
São Paulo Museum of Art
Virgin and the Child and the Infant St. John the Baptist (Francesco Francia and sons),[11] c. 1515, 115 cm x 94 cm, oil on wood,
National Gallery of Victoria, Melbourne
^Mrs Jameson (December 29, 1866). "Lives of the Early Painters: Francesco Raibolini, Called Il Francia". The American Art Journal. 6 (10): 152–153.
JSTOR25306713.