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Francesco Frangi

[Enrico, Antonio d’; il Tanzio]

(b Riale d’Alagna, 1575–80; d 1632–3).

Italian painter. He is best known for his dramatic oil paintings executed in a unique style of Caravaggesque realism modified by the elegance of Lombard Late Mannerism. He also adopted elements of a robust and unsophisticated realism from Piedmontese art, as is evident in his frescoes for the sacromonte at Varallo (see Varallo, Sacro Monte, §2). His drawings are in the highly refined and meticulously finished technique associated with Renaissance draughtsmanship.

Tanzio’s family had lived at Varallo since 1586, and he had two brothers who were also artists: the fresco painter Melchiorre d’Enrico, with whom he may have trained, and the sculptor and architect Giovanni d’Enrico (c. 1560–1644). On 12 February 1600 a safe conduct was issued to Melchiorre and Tanzio to leave Valsesia to visit Rome for the Holy Year. Tanzio’s first biographer, Cotta, wrote that the artist studied ‘in the Academies of Rome’ and that in ...

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(b Naples, 1581; d Naples, Oct 2, 1614).

Italian painter. He played an important role in the spread of Caravaggism to Naples and in the development away from Late Mannerism to a greater naturalism. He was the son of the painter and gilder Sebastiano Sellitto, and he was apprenticed briefly to the Piedmontese painter Giovanni Antonio Ardito (fl c. late 16th century–early 17th) before moving (c. 1591) to the studio of the Flemish painter Louis Croys. By 1608 he had left Croys and had set up his own workshop in the Via Donnalbina, attracting to it such artists as Filippo Napoletano, Giovan Mattea Arciero (b 1591) and Francesco Abbenante (fl first decade of the 17th century). The talent for portraiture that Sellitto had shown while working with Croys brought him commissions from the court and aristocracy, although none of these documented works has been identified.

Important commissions for Neapolitan churches followed. Sellitto must have seen Caravaggio’s ...