\paperw4995 \margr0\margl0 \plain \f1 \ATXsh255 Italian painter and engraver. \ATXsh4607 \par
\ATXsh255 Trained in Titianesque circles, he was one of the first artists in Venice
to adopt the innovations made by Tuscan and Roman figurative culture and develop them in a highly original manner. These influences are clearly apparent in both his engravings and in the paintings \i Pietα\i0 (Dresden, GemΣldegalerie), \i Judgment of Midas\i0 (
London, Hampton Court), and \i Adoration of the Magi\i0 (Milan, Pinacoteca Ambrosiana). These works show an increasingly marked tendency to transform the representation into a two-dimensional pattern of colors, contracting the planes of depth by means of soft
dissolving effects. The hostility with which this was received by some sectors of Venetian figurative culture was probably the reason why the artist fell back on a more traditional style. His numerous fresco decorations in Venetian palaces and villas on
the mainland have been lost. In addition to the three backgrounds he painted for the ceiling of St. MarkÆs Library in 1556, the surviving works from the last period of SchiavoneÆs career include several canvases of high quality that are an extremely ori
ginal reworking of Titianesque motifs: the \i Annunciation\i0 , \i Adoration of the Shepherds\i0 , and \i Adoration of the Magi\i0 in the Singing Gallery of Santa Maria del Carmine in Venice, and the \i Announcing Angel\i0 and \i Our Lady of the Annunc
iation\i0 on the organ doors of the church of San Pietro at Belluno.\ATXsh4607
