(b Cremona, c. 1490; d before 3 May 1543). Italian painter. With Gian Francesco Bembo, he reacted against the classicism of such Cremonese painters of the preceding generation as Boccaccio Boccaccino and Tommaso Aleni ( fl 1505-15). His first work, the Virgin and Child with the Infant St John the Baptist (Philadelphia, PA, Mus. A.), is similar to compositions by Aleni, with carefully constructed perspective in the manner of Donato Bramante. From 1500 to 1507 the Venetian painter Marco Marziale lived in Cremona; Melone was only superficially affected by him but seems to have been attracted to Marziale's sources: northern European painting, particularly that of D?rer, and the work of Giorgione and Titian, as can be seen in his Virgin and Child with the Infant St John the Baptist (Bergamo, Gal. Accad. Carrara).
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Altobello Melone (c. 1490-1491 – before May 3, 1543)[1][2] was an Italian painter of the Renaissance.
He was born in Cremona. His style merges Lombard with Mannerist styles. In Cremona, he encountered the elder Girolamo Romanino. He was commissioned in December of 1516 to fresco the Cathedral of Cremona, work which continued till 1518. His contract required that his frescoes be more beautiful than his predecessor, Boccaccio Boccaccino. He worked alongside Giovanni Francesco Bembo.
He contributed frescoes to the Cathedral of Cremona in 1516. The Lamentation in the Brera[3] comes in all probability from the church of Saint Lorenzo in Brescia and dated 1512. The stylistic convergence with Romanino is particularly obvious, such that the contemporary Venetian Marcantonio Michiel describes the Cremonese painter as a disciple of Armanin.
In his masterpiece frescoes, Altobello aims to be an interpreter of the anticlassicismo and “expressionist” language emerging Romanino. The seven scenes realized by Altobello evince a new forcefulness - Massacre of the Innocents is emblematic and manifest in the gestures and in the grotesque transformation of the faces.
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