Lorenzo Pasinelli

=== Early career ===

=== Early career ===

Lorenzo Pasinelli was born in Bologna, and initially trained in the studio of [[Simone Cantarini]]. He then pursued studies in Rome. Despite that training, his works have an air of [[Mannerism]]. Pasinelli established his reputation as an independent master with a ''Samson and Delilah'', commissioned by Senator Caldrini as a companion piece for a picture by [[Giovanni Andrea Sirani]]. Both Sirani and his daughter, [[Elisabetta Sirani]], praised the picture. Important public commissions followed, among them an ''Entry of Christ into Jerusalem'' and a signed and dated ''Christ Appearing to the Virgin after his Resurrection'' (1657) for [[San Girolamo della Certosa]], Bologna.<ref>

Lorenzo Pasinelli was born in Bologna, and initially trained in the studio of [[Simone Cantarini]]. He then pursued studies in Rome. Despite that training, his works have an air of [[Mannerism]]. Pasinelli established his reputation as an independent master with a ''Samson and Delilah'', commissioned by Senator Caldrini as a companion piece for a picture by [[Giovanni Andrea Sirani]]. Both Sirani and his daughter, [[Elisabetta Sirani]], praised the picture. Important public commissions followed, among them an ''Entry of Christ into Jerusalem'' and a signed and dated ''Christ Appearing to the Virgin after his Resurrection'' (1657) for [[San Girolamo della Certosa]], Bologna.<ref>

{{cite book |last=Lanzi |first=Luigi |title=History of Painting in Italy. From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century |volume= III |publisher=Henry G. Bohn |year=1847 |location=London |pages=144–145}}</ref> These scenes are thronged with ponderous and richly vested figures, and this, together with the unusual richness of colouring, suggested to his public the art of [[Paolo Veronese]].

{{cite book |last=Lanzi |first=Luigi |author-link=Luigi Lanzi|title=History of Painting in Italy. From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century |volume= III |publisher=Henry G. Bohn |year=1847 |location=London |pages=144–145}}</ref> These scenes are thronged with ponderous and richly vested figures, and this, together with the unusual richness of colouring, suggested to his public the art of [[Paolo Veronese]].

Around 1660, in collaboration with the [[quadratura]] specialist [[Andrea Seghizzi]], he painted two scenes from the lives of [[Pope Urban VIII|Urban VIII]] and [[Pope Gregory XV|Gregory XV]] in the Sala Farnese of the [[Palazzo d'Accursio]]. In 1661 he was called to [[Mantua]] to execute decorations in the [[House of Gonzaga|Gonzaga]] residence at Mamirolo and in 1663 returned from decorating rooms in the royal residence at Turin, again with Seghizzi. Nothing has survived of these enterprises. In 1663 he spent many months of study in Rome, where he stayed in the palace of his compatriot, Senator Campeggi. His only picture executed in Rome was a large group portrait of members of the Campeggi family.

Around 1660, in collaboration with the [[quadratura]] specialist [[Andrea Seghizzi]], he painted two scenes from the lives of [[Pope Urban VIII|Urban VIII]] and [[Pope Gregory XV|Gregory XV]] in the Sala Farnese of the [[Palazzo d'Accursio]]. In 1661 he was called to [[Mantua]] to execute decorations in the [[House of Gonzaga|Gonzaga]] residence at Mamirolo and in 1663 returned from decorating rooms in the royal residence at Turin, again with Seghizzi. Nothing has survived of these enterprises. In 1663 he spent many months of study in Rome, where he stayed in the palace of his compatriot, Senator Campeggi. His only picture executed in Rome was a large group portrait of members of the Campeggi family.