Giampietrino, probably Giovanni Pietro Rizzoli (active 1495–1549), was a north Italian painter of the Lombard school and Leonardo's circle, succinctly characterized by Sidney J. Freedberg as an "exploiter of Leonardo's repertory."
Giampietrino was a very productive painter of large altarpieces, Madonnas, holy women in half figure, and mythological women. For a long time, the true identity of the artist was unknown; he was only known as a so-called "Giampietrino" whose name appeared in lists of the members of Leonardo's studio. In 1929, Wilhelm Suida suggested that he could perhaps be Giovanni Battista Belmonte, since a Madonna signed with this name and dated 1509 had been associated stylistically with Giampietrino. Since then, this assumption is considered outdated, and Giampietrino is identified predominantly with Giovanni Pietro Rizzoli, who is known through documents.
Giampietrino has been regarded as a talented painter who contributed substantially to the distribution of the late style of Leonardo da Vinci. He copied numerous masterpieces by Leonardo, as well as leaving behind numerous capable original compositions of his own. Many of his works are preserved in multiple versions of the same subject.
The Last Supper, ca. 1520, by Giampietrino, after Leonardo da Vinci, oil on canvas, currently in the collection of The Royal Academy of Arts, London; an accurate, full-scale copy of the original that was the main source for the twenty-year restoration of the original masterpiece (1978-1998)
^Though Andrea Bayer says "rather securely identified" (Bayer, "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna" The Metropolitan Museum of Art Bulletin, New Series, 60.4 [Spring, 2003], p. 19), Sydney J. Freedberg says "It is uncertain whether this painter is to be identified with Gian Pietro Rizzi or Giovanni di Pietro of Como." (Freedberg, Painting in Italy 1500-1600 3rd ed. 1993:383, note 25).