- Also known as
primary name: Pino, Marco
other name: Marco da Siena
other name: Siena, Marco da
- individual; painter/draughtsman; Roman; Sienese; Italian; Male
- Life dates
- c. 1525-c. 1587
- Painter. Marco da Pino (or da Siena), b. at Costa al Pino near Siena (acc. Baumgart in Thieme-Becker) probably c. 1520-5, d. not earlier than 1579 and perhaps as late as 1586, see below. Mancini says that he d. aged 60-5, and that his earliest work in Rome, the 'Visitation' in S. Spirito in Sassia, was painted when he was 23. This picture is undated, but what may be its pendant, Roviale's 'Conversion of St Paul', is dated 1545. Baglione's statement that P. had been a pupil of Beccafumi in Siena is confirmed by the style of the 'Visitation'. First recorded in Rome 4 Oct. 1544, as member of Accademia di S. Luca (Davidson, 'Perino', under no. 78).
19 Jan. 1546-22 May 1546, payments to Perino del Vaga on behalf of P. for scenes of 'Alexander the Great' on the vault of Sala Paolina, Castel S. Angelo (Borea, n. 6; C. D'Onofrio, 'Castel S. Angelo', Rome, 1971; p. 247f.; E. Gaudioso, 'Bollettino', lxi (1976), pp. 21ff.; figs. 65-8; idem, pp. 228ff, figs. 84-8). The four scenes on the vault are all by the same hand, and reveal P.'s early style. A study for one identified by R. Harprath in Uffizi (622F, as Vasari; repr. 'Siena 1980 Exh. cat.', no. 9). Vasari (vii, p. 59) says P. and Tibaldi jointly executed, on Daniele da Volterra's cartoons, scenes from the life of the Virgin on the vault of the della Rovere chapel in SS. Trinità dei Monti which were probably included in that part of the work valued on 19 Jan. 1553 (Bartolotti, 'Bolognesi', pp. 41f). Feb. 1557 to Aug. 1558, payments for work at Monte Cassino (Borea, n. 11). A letter, Apr. 1557 (ibid.) establishes that P. was then living in Naples where he was said by Vasari, writing c. 1566, to be still living. From about then he seems to have divided his time between Naples and Rome. Vatican, Sala Regia: Baglione attributes to P. the 'soprapporta' of 'Otto I restoring the Territories of the Church' over the door leading to the Benediction loggia (the last on l. when facing Cappella Paolina), but this is not borne out by its style or by that of the preparatory drawing, Uffizi 11065F (G. Smith, 'Burlington', cxviii (1976), p. 103, fig. 65) which seems closer to Agresti. It should be noted that Baglione gives the soprapporta opposite to Samacchini, whereas the documents explicitly give it to Fiorini (see Smith, ut. cit., p. 105, n. 12). According to Campos, P's name has not been found in the documents, nor indeed is his style discernible in any of the paintings in the Sala.
31 Aug. 1568, contract for decoration (destroyed) of Chapel of St John the Evangelist in SS. Apostoli, Rome (Masetti Zannini, pp. 83f.). Baglione merely says that P. painted the altarpiece of 'The Martyrdom of St John'. A list of his works in Naples is given by de Dominici ('Vite dei pittori ...', Naples, 1742-63, ii, pp. 195ff.) but his dating is questionable. Borea cites and reproduces works in and near Naples datable between 1571 and 1578, in Aversa 1571, and Palermo 1574.
The 'Resurrection' in the Oratorio del Gonfalone, correctly attributed to P. by Baglione, was apparently the last of the series to be executed and is probably datable in the second half of the 1570s (see Molfino, p. 44). Altarpiece of 'Crucifixion' (Molfino, figs. 32-4), has been attributed to Roviale but seems closer to P. (the occurrence of a subject treated in the main fresco cycle suggests that it was not originally intended for the Oratorio).
4 May 1576, payment to P., then in Naples, for paintings to decorate bier for Compagnia di S. Giovanni in Pantaneto (S. Giovanni della Staffa) in Siena (G. della Valle, 'Lettere sanesi ...' Venice, 1786, iii, p. 292). The last certain documentary reference to P. appears to be in Sept. 1579 (Borea, n. 44), but the 2nd chapel on r. in S. M. in Aracoeli, for which he painted altarpiece of the 'Pietà' (Baglione; Borea, fig. 40; related drawings, differing in facture, are: Louvre 22, CM. Goguel, 'Inventaire: Vasari et son temps', 1972, no. 120, repr.; Uffizi 92186F; Pinacoteca, Reggio Emilia: the last two are squared) was not transferred to Paolo Mattei, who commissioned its decoration, until 1585 (Casimiro, p. 43); while Carli and others have suggested that P. may be the "M.ro Marco Pittore" paid on 15 June 1586 for restoring 'The Coronation of Pius III' above the entrance to the Libreria Piccolomini, Siena (see Borea, n. 45). The 'Noli Me Tangere' in the choir of S. M. della Concezione dei Cappuccini, traditionally attributed to Siciolante, seems to us to be by P. ('Restauri', 1970-1, pl. 38b). A 'grandissimo libro d'Architettura' by P. is cited by Lomazzo ('Idea del tempio della pittura', Milan, 1591, p. 17), followed by Baglione and Baldinucci.
Drawings include: 'Swooning Virgin and Dead Christ', Catalogue of Real Academia di San Fernando, by A. Pérez Sánchez, p. 145, as Tibaldi; 'Adoration of Shepherds', ibid., p. 144 as Tibaldi, and a related drawing with Neerman, London in 1974; 'Annunciation', private coll., Rome; 'Marriage of St Catherine', Berlin-Dahlem (5611 as Samacchini; Gernsheim 33822); 'Trinity with Virgin and Baptist', Ashmolean, (Macandrew Suppl., cat. iii, p. 52, no. 469A, pl. xxxiii); 'Kneeling Shepherd', Paris, Ecole des Beaux-Arts, no. 371; 'Standing Woman', Cooper-Hewitt, N.Y., 1938.88.7340; 'St Michael overcoming Satan', Herzog Anton Ulrich-Museum, Brunswick; a drawing, certainly his in composition and possibly by him, 'Battle of Nude Men mostly on horseback', Los Angeles County Museum of Art (as Taddeo Zuccaro).
- Gere & Pouncey 1983
E. Borea, 'Grazia e furia in Marco Pino', Paragone, 151 (1962), pp. 24ff.; C. Monbeig-Goguel, Musée du Louvre, Inventaire général des dessins italiens, i, 'Vasari et son temps', 1972, pp. 98ff.; C. Gilbert, 'Italian Paintings at St Meinrad Archabbey', Gazette, per. 6, lii, (1958), p. 357; L'arte a Siena sotto i Medici, Exh. Siena, 1980, pp. 18ff.