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(1) Francesco Vecellio
(b Pieve di Cadore, 1475; d Pieve di Cadore, 1559–60). Painter. He trained in Venice in the workshop of Giovanni Bellini, whose influence is evident in the altarpiece he painted for Santa Croce, Belluno, the Virgin and Child Enthroned with Saints (Berlin). He served in the Venetian army c. 1508–9, and when he returned to painting he came under the influence of his brother Titian, with whom he began to collaborate on, for example, the frescoes (1511) in the Scuola di S Antonio in Padua and the polyptych of the Virgin and Child Enthroned (central panel, Sédico, parish church). The Sédico altarpiece may have been planned by Titian, but was certainly executed by Francesco and is his best work. He did not develop further artistically, however, and his later work continued to reflect Titian’s early style, often with poorly assimilated influences from other artists. This conservative tendency is clear in his altarpiece of the Virgin and Child Enthroned with Saints (1524; S Vito di Cadore, parish church), with its echoes of Palma Vecchio. Even more regressive is the Noli me tangere (Oriago, S Maria Maddalena), derived from Jacopo Bassano. In his organ shutters (c. 1530) for S Salvatore, Venice (Transfiguration, Resurrection, St Augustine, St Theodore), he attempted, somewhat awkwardly, more dramatic compositions of a Mannerist type. He left Venice in 1534 to look after the family’s affairs in Pieve di Cadore, where he continued to execute such modest local commissions as the Virgin and Child Enthroned (Venas di Cadore, parish church).
Part of the Vecellio family
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