Giovanni Antonio Bazzi

Il Sodoma
Self-portrait with badgers in a fresco at Monte Oliveto
Born	Giovanni Antonio Bazzi 1477 Vercelli, Piedmont
Died	February 14, 1549 Siena
Nationality	Italian
Education	Martino Spanzotti, Gerolamo Giovenone
Movement	High Renaissance Sienese School
Patron(s)	Agostino Chigi, Pope Julius II, Pope Leo X

Il Sodoma (1477 – February 14, 1549) was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Il Sodoma painted in a manner that superimposed the High Renaissance style of early 16th-century Rome onto the traditions of the provincial Sienese school; he spent the bulk of his professional life in Siena, with two periods in Rome.

Giovanni Bazzi was born in Vercelli, Piedmont in 1477. His first master was the "archaic" Martino Spanzotti; he also appears to have been a student of the painter Giovenone. After acquiring the strong coloring and other distinctive stylistic features of the Lombard school and— though he is not known to have travelled to Milan— somehow absorbing the superficial mannerisms of Leonardo (Freedberg 1993:117), he traveled to Siena before 1503, perhaps at the behest of agents of the Spannocchi family, and began with fresco cycles for Olivetan monks and a series of small Ovidian ceiling panels and a frieze depicting the career of Julius Caesar for Sigismondo Chigi at Palazzo Chigi.

Along with Pinturicchio, Sodoma was one of the first to practice in Siena the style of the High Renaissance. His first important works were seventeen frescoes in the Benedictine monastery of Monte Oliveto Maggiore, on the road from Siena to Rome, illustrating the life of St Benedict in continuation of the series that Luca Signorelli had begun in 1498. Gaining fluency in the prevailing popular style of Pinturicchio, Sodoma completed the set in 1502 and included a self-portrait with badgers.

Sodoma was invited to Rome in 1508 by the celebrated Sienese merchant Agostino Chigi and was employed there by Pope Julius II in the Stanza della Segnatura in the Vatican. He executed two great compositions and various ornaments and grotesques in vaulted ceilings divided in feigned compartments in the antique manner that Pinturicchio had recently revived, working at the same time as Raphael. Vasari's rhetorical story that Sodoma's larger works did not satisfy the pope, who engaged Raphael to substitute a program of Justice, Poetry, and Theology is not borne out by the documents.