Study of a Female Saint in Glory

Giovanni Battista Trotti, called Il Malosso


Active as both a painter and an architect, Giovanni Battista Trotti, known as Il Malosso, was the foremost pupil of Bernardino Campi, whose studio he later inherited. Although his early works are indebted to the manner of Campi and such Cremonese contemporaries as Bernardino Gatti, he was also particularly influenced by the work of Correggio. From 1585 onwards he was especially active, painting numerous altarpieces for churches in Cremona, notably San Pietro al Po and Sant’Abbondio. The end of the 16th century and the beginning of the Seicento found Malosso working extensively throughout Lombardy - in Lodi, Pavia, Piacenza, Salò and Milan – as well elsewhere in Northern Italy, notably Genoa and Venice. In 1604 he settled in Parma, where he was employed at the court of the Duke Ranuccio Farnese. His work as a court artist in Parma included commissions for frescoes and portrait paintings, the decoration of various rooms in the Palazzo del Giardino, and temporary decorations for court festivals. He also supervised architectural projects, made designs for engravings and, for the Duke’s son Ottavio Farnese, was a painting teacher. Malosso’s work in Parma also included paintings for the Capuchin church at Fonteviva. Although firmly established as a court painter in Parma, Malosso continued to supervise a busy workshop in Cremona, where he provided several designs for altarpieces and frescoes.