Le Calvaire, Signorelli, Luca, XVe siècle (1400 - 1500)
Luca Signorelli, portraitLuca SignorelliItalie, 1450–1523

Le Calvaire

XVe siècle (1400 - 1500) · Peintures

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Pas exposée actuellement

Où est « Le Calvaire » aujourd’hui ? Collection: Musée du Louvre, Paris. Pas exposée actuellement. Vérifié 26 septembre 2026.

Musée du Louvre

Paris, France

Elle appartient à la collection, mais n’est pas présentée en ce moment.

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Le musée

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Numéro d’inventaire
INV 20799

Au catalogue

Sources

  • Musée du Louvre
  • Image : Musée du Louvre — © 2006 GrandPalaisRmn (musée du Louvre) / René-Gabriel Ojéda

Dans la vie de Luca Signorelli

La vie entière
  1. c. 1450

    Born

  2. c. 1450

    Only son in a Cortona family of painters

    Luca was the only son of Gilio (Egidio) di Luca di Angelo di maestro Ventura and Bartolomea di Domenico di Schiffo; his father and forebears had been painters in Cortona for several generations.

  3. c. 1470

    Marries Gallizia Carnesecchi

    Around 1470 Signorelli married Gallizia di Piero Carnesecchi; they had four children — Antonio, Felicia, Tommaso and Gabriella.

  4. c. 1484

    Returns to live in Cortona

    After working in Florence, Siena and Rome, Signorelli returned to live in Cortona in his early forties; with an established reputation, he remained based there for the rest of his life, often travelling to the cities of the region to fulfil commissions.

  5. 1497

    Invited to paint at Monte Oliveto Maggiore

    Fra Domenico Airoldi, abbot and general of the Olivetan order, invited Signorelli to paint the monastery with the “Story of Saint Benedict”. He completed the eight lunettes of the north side before leaving the work for his most important commission, in Orvieto; from 1505 Sodoma finished the cycle.

  6. 5 April 1499

    Contract for the chapel frescoes in Orvieto

    Signorelli undertook to complete the vault of the cathedral's Cappella Nuova, begun by Fra Angelico, for 200 ducats, and the walls for a further 600, with lodging and a monthly allowance of two measures of wine and two quarters of corn. The contract required him to consult the Masters of the Sacred Page on theological matters — the first recorded instance of an artist receiving theological advice.

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