Early Life, Family and Training

Born in Pisa on 29 February 1556, Aurelio Lomi entered a world where art was a family trade. He was the brother of Baccio Lomi and Orazio Gentileschi, the latter of whom would eventually become one of his own pupils. This lineage of painters suggests a life shaped by the constant presence of pigment and brush. It is believed that his initial training may have been overseen by his father, Giovanni Battista Lomi, providing the foundational discipline required for a career in the Grand Duchy of Tuscany.

As his technical skill developed, Lomi moved beyond the immediate influence of his father's workshop. Between 1580 and 1590, he sought refinement in Florence. During this decade, he worked under the guidance of Alessandro Allori and Lodovico Cardi, the artist known as Cigoli. These years in Florence allowed him to absorb the evolving styles of the period, bridging the gap between the late-Renaissance traditions of his youth and the emerging sensibilities of the early Baroque.

Activity in Pisa and Florence

While his artistic reach eventually extended to other Italian centers, Lomi remained deeply rooted in his native Pisa within the Grand Duchy of Tuscany. His presence in the city was marked by significant religious commissions that defined the visual landscape of its sacred spaces. In 1595, he contributed a depiction of Saint Jerome to the Duomo of Pisa, a work that anchored his reputation within the local ecclesiastical community.

His hand was also visible in the decorative programs of several prominent churches. He executed frescoes for San Frediano and Santo Stefano, leaving a permanent mark on their interior walls. Beyond these large-scale mural works, he provided an altarpiece for Santa Apollonia, further establishing his role as a preferred painter for the Tuscan clergy. His time in Florence, spanning from 1580 to 1590, allowed him to refine his technique under the guidance of Alessandro Allori and Lodovico Cardi.

• Saint Jerome (1595), Pisa Cathedral
• Altarpiece for Santa Apollonia, Pisa

Work in Genoa and Rome

Lomi’s artistic reach extended beyond the borders of Tuscany, finding significant commissions in the maritime atmosphere of Genoa. In this city, his hand guided the devotional imagery for several important religious sites. He provided a depiction of Saint Anthony of Padua for the church of San Francesco di Castelletto. His presence in Genoa was further marked by large-scale compositions for Santa Maria Assunta in Carignano, where he executed both a Resurrection of Christ and a Last Judgement.

The artist also sought the patronage of Rome, where his work took on a more architectural dimension through the medium of fresco. In the Pinelli chapel of the Chiesa Nuova, he occupied the sacred spaces with complex narrative cycles. These works included Scenes from the Life of the Virgin and the Birth of Jesus, which were positioned along the arches. He further decorated the vault of the same chapel with depictions of the Dormition, the Coronation, and the Funeral of the Madonna. On the walls, he addressed the biblical stories of Rebecca and Eleazar and Yael and Sisera.