Giacomo Cavedone (1577 – 1660) was an Italian Baroque painter of the Bolognese School.Annibale Carracci’s inspiration, later on with the departure of the latter for Rome, became Ludovico Carracci’s main source, inheriting the death of the “Capo Mayor” of the Accademia degli Incamminati in 1619, as evidenced by the work carried out in the Palazzo Fava in Bologna And the works made in the early seventeenth century (The Martyrdom of St. Peter, S.Antonio beaten by demons) characterized by a regular formal synthesis.
In the autumn of 1609 he is in Rome as Guido Reni’s help, here he remains impressed by Michelangelo Merisi’s work from Caravaggio.
He belonged to the generation of Carracci-inspired or trained painters that included Giovanni Andrea Donducci (Mastelletta); Alessandro Tiarini, Lucio Massari, Leonello Spada and Lorenzo Garbieri. He was born in Sassuolo, near Modena, and was able to obtain a three-year stipend to apprentice with Bernardino Baldi and Annibale Carracci.
In the autumn of 1609, he sojourned in Rome for a year to work under Guido Reni, and is known to have worked in Venice from 1612-1613, a city where he found various sources of inspiration.
Back in Bologna, between 1611 and 1613 he worked on the Chapiglio Arrigoni’s decoration in the church of San Paolo Maggiore, realizing three frescoes in the vault and two lateral canvases, with the shepherds’ adoration and the adoration of the magicians.
It dates back to 1614 is the shovel with La Vergine and the saints Alò and Petronio for the church of S.Maria dei Mendicanti, now at the Pinacoteca Nazionale of Bologna, where the memories of Caravaggio join those brought back from Venice by Paolo Veronese and Titian.
He became one of Ludovico Carracci’s primary assistants, and upon Ludovico’s death in 1619 became Caposindaco of the Accademia degli Incamminati.
His career as a painter was cut short by a set of misfortunes; these included a 1623 fall from a church scaffold and, in 1630, the death of his wife and children from the plague. In 1624, following a fall he had to give up painting, for the consequent disability, and six years after much of his family was decimated by the plague. He lived until 1660, and died in poverty.
The 1911 Britannica (where he is incorrectly called Jacopo Cavendone) claims his wife was accused of witchcraft.
His principal works are the Adoration of the Magi, the Four Doctors, Last Supper; and his masterpiece, the large altar painting in the Pinacoteca di Bologna, Virgin and Child in Glory with San Petronio and Saint Alo (1614). His paintings have a traditional Ludovico Carracci-inspired structure, with a Madonna and her wafting robes hovering above donors, with an unusually rich Titianesque coloring for an Emilian painter. Among his pupils were Giovanni Andrea Sirani, Giovanni Battista Cavazza, Ottavio Corradi, and Flaminio Torre.
Saint Stephen in Glory, (1601, Galleria Estense, Modena)
Deposition, (Santuario di Caravaggio)
Death of Saint Peter Martyr, (Pinacoteca Nazionale, Bologna)
Baptism of Christ, (1611–12, San Pietro Martire, Modena)
Sant’Alo Altarpiece, (1614, Pinacoteca Nazionale, Bologna)
Discovery of Miraculous Crucifix of Beirut, (1622, San Salvatore, Bologna)
Adoration of the Shepherds, (San Paolo Maggiore, Bologna)
Adoration of the Kings, (San Paolo Maggiore, Bologna)
Seated Warrior Holding a Sword and Shield, (drawing, c. 1612, National Gallery of Art)
Sketch for The Last Supper; verso: The Conversion of St. Paul, Fogg Art Museum)
The Miracle of the Loaves and Fishes (drawing, 1611–1614, Fitzwilliam Museum, Cambridge)
Judith of Holofernes & Complaint of Job