Italian illuminator, probably of German descent. He is documented from 1441 to 1462 in the Este court at Ferrara, working first under Lionello d'Este, Marchese of Ferrara, and then Borso d'Este. He was granted citizenship of Ferrara in 1462. His earliest documented works were executed in Ferrara, where in 1445-48 he participated in the decoration of a Breviary for Lionello d'Este (dismembered, private collection). His illuminations for a Missal for Borso d'Este (Ms. lat. 239, Biblioteca Estense, Modena) were executed between 1449 and 1457. In 1453 he decorated the Spagna in Rima (Ms. Cl.II 132, Biblioteca Comunale Ariostea, Ferrara). The stylistic relationship between this work, the Missal and the Breviary is problematic. Some scholars attribute only the Spagna in Rima to Giorgio, assigning the other works to an anonymous Master of the Missal of Borso d'Este. In Lionello's Breviary, Giorgio worked in a Late Gothic Emilian style similar to that of the anonymous frescoes at Vignola painted for Niccolò III d'Este. After 1450 his style took on Renaissance characteristics. In the Missal, Giorgio showed familiarity with the art of Francesco Squarcione and Donatello as transmitted through the work of Michele Pannonio, then active in Ferrara. He also knew the work of Piero della Francesca, who in 1451 was in Rimini and later in Ferrara. Giorgio's stylistic vocabulary recalls that of his contemporary Taddeo Crivelli and also the early works of Cosimo Tura. Giorgio's illuminations are of remarkably high quality; the drawing is clear and lively, with Late Gothic rhythms that give a dynamic quality to the figures and an intense expressiveness to the faces. The landscapes are characteristically fantastic: full of pointed rocks, hills and coloured stones, within a fine, carefully worked out colour scheme. His son, Martino di Giorgio d'Alemagna (Martino da Modena), was also illuminator. //