BRESCIAN PAINTER OF THE 16TH CENTURY Saint Jerome Oil on panel, 56X39 cm The painting exhibits Brescian characteristics and the composition finds similarities with the works of Alessandro Bonvicino known as Moretto (Brescia, c. 1498 ; 1554), an artist who linked his Lombard style reminiscent of Foppa with Venetian art, looking to the examples of Titian (Pieve di Cadore, 1480/1485 ; Venice, 1576). In fact, according to Giorgio Vasari, his early training took place in Venice in Vecellio's workshop. Nevertheless, the influence of Girolamo di Romano with whom he probably collaborated in Padua in 1513 and later in Brescia in the decoration of the Chapel of the Sacrament was decisive. Having said this, it must be said that Moretto was one of the main creators of Brescian painting with Romanino and Savoldo. His earliest works date back to 1514-1515 and a little later is the Stendardo con le Santissime Croci (Standard with the Holy Crosses), where the lagoon language is evident, while in the aforementioned Chapel of the Blessed Sacrament, where he worked between 1521 and 1524, one can discern echoes of the Roman Renaissance, and of Raphael in particular, which probably stemmed from a stay in Capitoline. In the final phase of his production he anticipated the painting of the Counter-Reformation and premonitions of what was to become the art of Caravaggio. In addition to his most important pupil, Giovan Battista Moroni, Agostino Galeazzi, Luca Mombello and Francesco Ricchino worked in his workshop, who kept his verbo alive, updating it in a Venetian key under the influence of Titian, Veronese and Tintoretto. We should also remember the painters of the next generation who were particularly influenced by Moretto: Pietro Marone and Tommaso Bona.