On the other hand, we cannot help but agree with Giorgio Vasari, who while he did value the lyrical mood of Pinturicchio’s paintings, criticized his appeasement of the tastes of his clients, entrusting work to his students and aides, as well as his overuse of gold. Vasari definitely did not value the Umbria-born artist, pointing out his numerous shortcomings. The aforementioned gold elements appear mainly in the willingly used by the painter grotesque motifs, with which he filled all free space between figural scenes. It is assumed that, Pinturicchio as one of the first artists had the ability to witness in situ, the ancient palace of Nero (Domus Aurea). In this complex, discovered in 1480, the preserved wall decorations had stylized griffons and other fantastic beasts, as well as candelabra ornaments as their main decorative elements. From that moment on they would become a popular decorative motif, without which it is difficult to imagine the art of the quattrocento. Its name – grotesque – stems from the word “grotto” (It. la grotta) – since only thanks to a crack in the earth, which was initially assumed to be a grotto, was this magnificent palace discovered in the first place – but most of all its paintings – one of the few artifacts of ancient painting, which for subsequent decades would inspire Italian artists.

Pinturicchio was perhaps one of the most popular painters of early Renaissance. He was born in Perugia and belonged to the circle of valued Umbrian artists. The nickname “Pinturicchio”, meaning little painter, came about because of his small posture. He came to Rome along with a fellow artist and countryman, four-year his senior, Pietro Perugino, in order to work together on the decoration of walls in the Sistine Chapel. This work (1481-1483) allowed him to present his own abilities, although it was Perugino who set the tone for the completed paintings. Two scenes, sketched by Perugino are attributed to Pinturicchio: Circumcision of the Son of Moses and The Baptism of Christ. After completing the commissions in the Sistine Chapel, Pinturicchio remained in the city on the Tiber. His first independent work was a series of frescoes concerning the story of St. Bernard of Siena, completed for the Church of Santa Maria in Aracoeli. In them he shows his ability to paint architecture, but at the same time it is visible, how much he takes and almost borrows from his teacher Perugino.

Pinturicchio’s talent was quickly recognized by Pope Innocent VIII, who employed him in painting the rooms of the recently created Belvedere. The tiny remains of the vedute completed there are still today found on the walls of the Museo Pio-Clementino (Musei Vaticani). The following pope, Alexander VI, also valued his skills, entrusting him with the decorations of six of his apartments in the Apostolic Palace. Some of the works created there, were painted by Pinturicchio himself, however most of them he entrusted to his students. This is perhaps the most interesting painting series, which the artist left in the Eternal City. In it, he presented scenes from the life of Jesus Christ, the Virgin Mary and saints, as well as mythological and allegorical motifs, into which the pope himself as well as members of his family (Lucretia and Cesare Borgia) were intertwined. The pope also had the artist decorate the interior of the Castle of the Holy Angel (Castel Sant’Angelo), which unfortunately was not preserved. A similar fate befell the altarpiece and frescoes completed for a chapel funded by Alexander VI in the Church of Santa Maria del Popolo. In this very church we can see more of the artist’s works as well as of his workshop, since Pinturicchio was also valued by the della Rovere family. And while its representatives and  the Borgias never saw eye to eye, they shared the admiration for this painter, which is proven by the decoration of the chapels of the della Rovere family, as well as the interiors of the family palace of Cardinal Domenico della Rovere, including the imposing wooden vault consisting of gilded coffers filled with mythological and allegorical figures (Palazzo della Rovere).

We do not know too much about his private life. His work, based on completing numerous commissions in more and more towns – besides Rome these were Spoleto, Orvieto, Siena, and Perugia – brought him substantial income. He enjoyed renown everywhere he went. He had five children and an unfaithful wife. However, when an illness befell him he was left completely alone. He died in the parish of the Church of SS. Vincent and Anastasius in Siena. He was buried without proper ceremonies, while his grave was not even given a plaque with his surname. This did not take place until 1830.

Pinturicchio’s most interesting paintings and frescoes in Rome:

Galleria Borghese

•     The Crucifixion with St. Jerome and St. Christopher, 1475

Musei Vaticani, Pinacoteca Vaticana

• Madonna, 1498
• Coronation of Our Lady, 1505

Palazzo Madama

•     Tondo Madonna with Child Accompanied by St. Joseph and St. Blaise

Church of Santa Maria in Aracoeli 

•     Frescoes in the Bufalini Chapel, The Story of St. Bernard of Siena, 1486

Church of Santa maria del Popolo

•   Frescoes in three chapels (Basso della Rovere, della Rovere and Costa) as well as in the church choir, 1485–1492

  Apostolic Palace in the Vatican

•           Frescoes in the apartments of Pope Alexander VI Borgia, 1496

Palazzo Colonna

•           Remains of frescoes completed for Cardinal Giuliano delle Rovere (1485–1490), preserved only on the ceiling

Palazzo dei Penitenzieri (the former Palazzo della Rovere)

•           Frescoes and decorations of the vault of one of the rooms, 1490