SIBILLA 
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born with the name of Pietro Vannucci in Città della Pieve, Umbria, son of Cristoforo Vannucci. Contrary to the assertion of Vasari, Vannucci family was one of the most important and richest of Castel della Pieve. The date of birth is unknown and, through the entries made Santi Giovanni Vasari and the age of his death, is oscillated between 1445 and 1452. [1] There is no known juvenile production in his hometown . His training, after a first contact with the artistic Perugian, it must, as Giorgio Vasari writes, with the study of great works of Piero della Francesca as Polyptych San Antonio (1459-1468) who were scattered in Umbria , the Marches and Tuscany, assuming the light and monumental features, integrating rigorous architecture and character. [1] Piero della Francesca Vannucci took the harmony between the surface and volume of the box. Perugia was at that time a vital art city, where they worked as well as Piero, Domenico Veneziano, Fra Angelico and Benozzo Gozzoli. With these examples of local artists, including Benedetto Bonfigli emphasized, developed a luminous paint and decorated with a fluid narrative.
The earliest artistic experiences of Pietro Vannucci Umbrian probably rely on local workshops such as Bartolomeo Caporali and Fiorenzo di Lorenzo and workshop environment Bonfligli Benedetto said.
Pietro was a first stay in Florence whose date is not fixed with certainty, some place it in the year 1470, other date delayed until 1479. A document puts it back to Città della Pieve to pay the rate of wine after his father's death. Soon had to return to Florence, where, according to the testimony of Vasari, he worked in the most important center for training young talents then existing, the workshop of Andrea del Verrocchio, where he practiced painting, sculpture and jewelry. There he worked closely with young talents such as Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi and above all the little more than contemporary Botticelli, the Anonymous Magliabechiano (circa 1540) cited, perhaps too emphatically, as a direct master Perugino. Artistic training in Florence then relied mostly on the practice of life drawing, considered a core activity of all artistic practice, which led to profound anatomical studies, often with the direct study of dissected cadavers. For the assiduous attention to the graphics, the Florentine school of the time was very attentive to the line of the contours, which had been slightly marked, as in the work of the brothers or the same Pollaiolo Verrocchio. There the young painter became familiar with new approaches to treatment body and space Verrocchio gave him naturalism and linear modes.
For the year 1472 had completed his apprenticeship, that the statutes of the arts of the time was set at no less than nine years, so that Perugino was entered in the Compagnia di San Luca in Florence with the title "dipintore ', so I could work independently. First works
The Perugino was one of the first used in Italy oil painting. The first activity of Perugino was reconstructed based only on stylistic comparisons. Early works are regarded as those in which it is seeking stronger expression through the line drawing, of a clear Florentine, while slowly taking her in later years those works where it begins to show a transition to the style "modern", based on a more formal purity, with attention to composition and harmony a more morbid and blur of colors, it was held later in the Rome of Julius II and Leo X. Perugino is in fact who is credited with this achievement, collected and developed further by the great masters who lived somewhere between the XV and XVI.
A top-work is the Madonna with Child (Madonna Gambier Parry) of the Courtauld Institute of Art in London, which showed the influence of his first production, import front and attentive to the volume derivative of Piero della Francesca, simplicity of decoration, net chiaroscuro style of Verrocchio, the technique and the type of face of the Virgin is shown a Flemish influence, while they are already the elements become typical of his art, and the pace with cadence of the pose and gestures and melancholic sense that pervades the whole picture.
Portrait of Pietro Perugino. 
Full text here
http://es.wikipedia.org/wiki/Pietro_Perugino
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