BECCAFUMI, DOMENICO. — Painter, born around 1486 in Val di Siena (Siena), died in Siena in May 1551. From his earliest works, connected with the styles of fra' Bartolomeo and Mariotto Albertinelli, he showed himself open to the influences of the masters of his time: for example, the fresco for the chapel of the Manto in the hospital of Siena, from 1512. In those immediately following (the Trinity of 1514 and the Stigmata of s. Caterina of 1515, both in the picture gallery of Siena), the Peruginesque influences are evident; in s. Paolo, also from 1515, B. defined his personality as a Mannerist still more clearly. Two years later he began, with Sodoma and Gerolamo del Pacchia, the decoration of the chapel of S. Bernardino in Siena, completing in 1518 the two frescoes depicting the Spessilinio and the Transit of the Virgin, notable for the flowing linearism of their composition. He then painted the panel of the Nativity, in the church of S. Martino, likewise in Siena, in which influences from the art of Raffaello predominate; B. had become acquainted with his works during his stay in Rome, between 1510 and 1512. Having become the official painter of the Republic of Siena, he decorated in fresco a ceiling of the house of Marcello Agostini (later Bindi-Sergardi); this work, because of its dazzling richness of colour, its unusual architectural backgrounds, and its studied perspectival effects, is rightly regarded as one of his finest.
From 1528 dates the Marriage of s. Caterina with the Madonna and eight saints (Siena, Chigi-Saraoni Gallery); two saints bear the imprint of the art of fra' Bartolomeo, while in the Madonna the influence of Raffaello can be recognized. In 1529 B. received the commission to decorate the Hall of the Concistory in the Palazzo Pubblico of Siena, a task completed after six years; this work, besides possessing marked pictorial value, has great documentary importance, since episodes from the city’s history are allegorically recalled through its various scenes. In 1537 he executed the famous painting of s. Michele for the church of the Carmine, under the influence of Michelangelo, though transformed through his contemplative Sienese spirit.
Between 1538 and 1539 he painted for the Opera del Duomo of Pisa the Golden Calf and the Punishment of Dathan and Abiron, as well as the Four Evangelists; a year later he began the frescoes for the tribune of the cathedral of Siena (completed in 1544), which testify to the attainment of his full artistic maturity. In 1541 he went to Genoa, where he collaborated with Perin del Vaga on the decoration of the Doria palace. Returning to Siena, he painted (1543) the Nativity of the Madonna for the convent of S. Paolo, notable for the construction of the figures in geometric planes and for the dazzling richness of its colours.
B. was one of the first Tuscan Mannerists. The bizarre and extravagant composition, the strong contrasts of light and shadow, and the continual mutability of colour, highly sensitive to light and to formal elements, constitute the fundamental attributes of his artistic character.
He also took part in completing the graffiti on the floor of the cathedral of Siena, beginning the work in 1517 and continuing it throughout the rest of his life.
A versatile artist, he also executed banners, temporary architectural works, decorations, etc.; his last work was the bronze angels for the cathedral of Siena. — Vedi Tav. LXXI.