1477 -1549 · Vercelli, Siena, Rome and Italian Renaissance

Under his full name, Giovanni Antonio Bazzi known as Il Sodoma reveals a Renaissance made of narrative frescoes, Leonardesque softness, Sienese color and intensely living figures.

Giovanni Antonio Bazzi was born in Vercelli in 1477 and trained in the workshop of Giovanni Martino Spanzotti. This first Piedmontese apprenticeship transmitted to him the drawing of figures and a sensitivity close to the Lombard research of Leonardo da Vinci. Installed in Siena at the beginning of the 16th century, he worked from 1503 -1504 in Sant'Anna in Camprena, then resumed in Monte Oliveto Maggiore the vast cycle of the Life of Saint Benedict begun by Luca Signorelli. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures and miracles compose a clear and animated story. In these frescoes, architecture, animals, daily gestures roman. He then finds Siena, where his Depositions, Holy Families and scenes from the Passion combine supple contours, enveloped light and contained emotion. A new Roman stay leads him to Villa Farnesina: the Wedding of Alexander and Roxane brings together mythology, nudity, movement and ancient decor. His paintings dedicated to Saint Catherine of Siena give mysticism a physical presence, while his romantic allegories combine humanist culture and sensuality. His paintings dedicated to Saint Catherine of Siena give mysticism a physical presence, while his romantic allegories combine humanist culture and sensuality. His paintings dedicated to Saint Catherine of Siena give mysticism a physical presence, while his romantic allegories combine humanist culture and sensuality. The nickname Il Sodoma, documented during his lifetime and sometimes used by the artist himself, remains of uncertain origin. It sums up neither his character nor his work. Active also in Pisa, Volterra, Lucca and Piombino, Bazzi transmits inventions from Lombardy, Florence and Rome to Sienese painting without renouncing its tender color. He died in Siena in 1549. The selection "Il Sodoma (Giovanni Antonio Bazzi)" notably compares Love and Charity and The Ecstasy of Saint Catherine. His reading favors composition.

In Giovanni Antonio Bazzi, the story is born from the body: a twist, a hanging hand or an inclined gaze is enough to unite grace and drama.