1.
Guercino
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Giovanni Francesco Barbieri, best known as Guercino, or Il Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style and he was born in Cento, a village between Bologna and Ferrara. At an early age he acquired the nickname Guercino because he was cross-eyed, mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci, Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand, the Arcadian Shepherds was painted in 1618 at the same time of The Flaying of Marsyas by Apollo in Palazzo Pitti. Its dramatic composition is typical of Guercinos early works, which are often tumultuous and he often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his works are closer to the style of his contemporary Guido Reni. He was recommended by Marchese Enzo Bentivoglio to the Bolognese Ludovisi Pope, Pope Gregory XV, the years he spent in Rome, 1621–23, were very productive. Petronilla Altarpiece for the Vatican, which is considered his masterpiece, after the death of Gregory XV, Guercino returned to his hometown. In 1626, he began his frescoes in the Duomo of Piacenza, between 1618 and 1631, Giovanni Battista Pasqualini produced 67 engravings that document the early production of Guercino, which is not included in the Libro dei Conti. In 1642, following the death of Guido Reni, Guercino moved his workshop to Bologna. In 1655, the Franciscan Order of Reggio paid him 300 ducats for the altarpiece of Saint Luke Displaying a Painting of the Madonna, the Corsini also paid him 300 ducats for the Flagellation of Christ painted in 1657. Guercino was remarkable for the rapidity of his executions, he completed no fewer than 106 large altarpieces for churches. He was also a prolific draftsman and his production includes many drawings, usually in ink, washed ink, or red chalk. Most of them were made as preparatory studies for his paintings, but he also drew landscapes, genre subjects, Guercinos drawings are known for their fluent style in which rapid, calligraphic pen strokes combined with dots, dashes, and parallel hatching lines describe the forms. Guercino continued to paint and teach until his death in 1666, as he never married, his estate passed to his nephews and pupils, Benedetto Gennari II and Cesare Gennari. Benedetto Zallone of Cento, and Matteo Loves, masterpieces of Cento, Rome and Polish collections, displayed at the National Museum in Warsaw from September 2013 to February 2014
2.
Federico Zuccari
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Federico Zuccari, also known as Federico Zuccaro, was an Italian Mannerist painter and architect, active both in Italy and abroad. Zuccari was born at SantAngelo in Vado, near Urbino and his documented career as a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius IV, and help complete the decorations at the Villa Farnese at Caprarola. Zuccari was recalled to Rome by Pope Gregory XIII to continue in the Pauline chapel of the Vatican and he visited Brussels, and there made a series of cartoons for the tapestry-weavers. In 1574 he came to England, where he received a commission from Robert Dudley, Earl of Leicester to portray himself and he also painted Mary, Queen of Scots, Sir Nicholas Bacon, Sir Francis Walsingham, Lord High Admiral Howard. He painted a portrait of a Man with Two Dogs, in the Pitti Palace, in 1585, he accepted an offer by Philip II of Spain to decorate the new Escorial at a yearly salary of 2,000 crowns. He worked at the palace from January 1586 to end of 1588 and his paintings were disliked by Philip II and many were painted over. However the parting was amicable, We must not blame him and he was succeeded by Pellegrino Tibaldi. He there founded in 1595, under a charter confirmed by Pope Sixtus V, bartolomeo Carducci is said to have studied with him. Like his Giorgio Vasari a generation before, Zuccari aimed at being an art critic and his chief book, Lidea de Pittori, Scultori, ed Architetti, was far less popular. Zuccari was raised to the rank of cavaliere not long before his death, freedberg, Sydney J. Pelican History of Art, ed. The Zuccaro Scholarship Getty Museum Exhibition Taddeo and Federico Zuccari, Artist Brothers in Rome
3.
Girolamo Muziano
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Girolamo Muziano, was one of the most prominent Italian painters, active in the mid-to-late sixteenth century. He was born in Acquafredda, near Brescia, but active mainly in Rome, the accounts from the 16th to 20th centuries regarding Muzianos life said he began work under the tutelage of Romanino, an imitator of Titian. He then spent time in Venice until 1549, but moved permanently to Rome about 1550 and he was known there as Il giovane dei paesi, but although he continued to draw and paint landscapes throughout his career, he aspired instead to grand manner figure painting. He painted historical painting in a style based largely on Michelangelo, giving prominence to the monumental anatomy of his figures. His Resurrection of Lazarus was painted for the Colonna palace in Subiaco and it established his fame, Michelangelo himself pronounced its author one of the first artists of that age. The painting was placed in the church of Santa Maria Maggiore above the artists tomb, it was afterwards transferred to the Quirinal Palace. The painting returns to an organization and narrative composition more typical of the High Renaissance than of Muzianos Mannerist contemporaries. Muziano came to be the leading artist in Rome during the 1570-80s and he worked for Cardinal Ippolito II dEste from 1560–66, and his frescoes for the Cardinals villas in Tivoli could be seen in Villa dEste. This last painting was one of two altarpieces that Muziano painted for St. Peters Basilica during the time when Muziano served as superintendent of works for Pope Gregory XIII. Muziano also designed mosaics for the Gregorian Chapel in the basilica and his works can also be seen Santa Caterina dei Funari, the Galleria Colonna, in Orvieto, and in the church of San Francesco in Frascati. He died in 1592, and was buried in the church of Santa Maria Maggiore, among his pupils was Paolo Rossetti of Cento. Cristo riceve gli ambasciatori del Battista - Museo antico Tesoro- Loreto Landscape with waterfall Three paintings Attribution Chisholm, Hugh, ed. Muziano, freedberg, Sydney J. Pelican History of Art, ed. Italy cyberguide entry Brief bio of Muziano from the Web Gallery of Art This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Muziano
4.
Luke the Evangelist
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Luke the Evangelist is one of the Four Evangelists—the four traditionally ascribed authors of the canonical Gospels. The New Testament mentions Luke briefly a few times, and the Pauline epistle to the Colossians refers to him as a doctor, Christians since the faiths early years have regarded him as a saint. He is believed to have been a martyr, reportedly as having been hanged in an olive tree, though some believe otherwise. Many scholars believe that Luke was a Greek physician who lived in the Greek city of Antioch in Ancient Syria, though other scholars. Bart Koet for instance considered it as widely accepted that the theology of Luke–Acts points to a gentile Christian writing for a gentile audience, gregory Sterling though, claims that he was either a Hellenistic Jew or a god-fearer. His earliest notice is in Pauls Epistle to Philemon—Philemon 1,24 and he is also mentioned in Colossians 4,14 and 2Timothy 4,11, two works commonly ascribed to Paul. He had become a disciple of the apostle Paul and later followed Paul until his martyrdom, having served the Lord continuously, unmarried and without children, filled with the Holy Spirit he died at the age of 84 years. If one accepts that Luke was in fact the author of the Gospel bearing his name and also the Acts of the Apostles, the we section of Acts continues until the group leaves Philippi, when his writing goes back to the third person. This change happens again when the returns to Philippi. There are three we sections in Acts, all following this rule, Luke never stated, however, that he lived in Troas, and this is the only evidence that he did. The composition of the writings, as well as the range of vocabulary used, a quote in the Letter of Paul to the Colossians differentiates between Luke and other colleagues of the circumcision. 10 My fellow prisoner Aristarchus sends you his greetings, as does Mark,11 Jesus, who is called Justus, also sends greetings. These are the only Jews among my co-workers for the kingdom of God,14 Our dear friend Luke, the doctor, and Demas send greetings. This comment has traditionally caused commentators to conclude that Luke was a Gentile, if this were true, it would make Luke the only writer of the New Testament who can clearly be identified as not being Jewish. However, that is not the only possibility, although Luke is considered likely to be a Gentile Christian, some scholars believe him to be a Hellenized Jew. The phrase could just as easily be used to differentiate between those Christians who strictly observed the rituals of Judaism and those who did not. Lukes presence in Rome with the Apostle Paul near the end of Pauls life was attested by 2 Timothy 4,11, Only Luke is with me. In the last chapter of the Book of Acts, widely attributed to Luke, we find several accounts in the first person also affirming Lukes presence in Rome including Acts 28,16, And when we came to Rome
5.
Mary, mother of Jesus
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Mary, also known by various titles, styles and honorifics, was a 1st-century Galilean Jewish woman of Nazareth and the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin, the miraculous birth took place when she was already betrothed to Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born, the Gospel of Luke begins its account of Marys life with the Annunciation, when the angel Gabriel appeared to her and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to the Catholic and Orthodox teaching, at the end of her life her body was assumed directly into Heaven. Mary has been venerated since Early Christianity, and is considered by millions to be the most meritorious saint of the religion and she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Roman Catholic, Anglican, and Lutheran churches believe that Mary, there is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Roman Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, many Protestants minimize Marys role within Christianity, based on the argued brevity of biblical references. Mary also has a position in Islam, where one of the longer chapters of the Quran is devoted to her. Marys name in the manuscripts of the New Testament was based on her original Aramaic name ܡܪܝܡ. The English name Mary comes from the Greek Μαρία, which is a form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament, in Christianity, Mary is commonly referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husbands involvement. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Catholics use a wide variety of titles for Mary, and these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelos Pietà, the title Theotokos was recognized at the Council of Ephesus in 431. However, this phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication commonly attached to her image in Byzantine icons. The Council stated that the Church Fathers did not hesitate to speak of the holy Virgin as the Mother of God, some Marian titles have a direct scriptural basis. For instance, the title Queen Mother has been given to Mary since she was the mother of Jesus, the scriptural basis for the term Queen can be seen in Luke 1,32 and the Isaiah 9,6. Queen Mother can be found in 1 Kings 2, 19-20 and Jeremiah 13, other titles have arisen from reported miracles, special appeals or occasions for calling on Mary
6.
Painters' guild
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The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the saint of artists. One of the most famous such organizations was founded in Antwerp and it continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where members could sell paintings in the city or have a shop. The guild of Saint Luke not only represented painters, sculptors, and other artists, but also—especially in the seventeenth century—dealers, amateurs. In traditional guild structures, house-painters and decorators were often in the same guild, however, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients, in such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other. Although it did not become an artistic center until the sixteenth century, Antwerp was one of, if not the first. It is first mentioned in 1382, and was given privileges by the city in 1442. The registers, or Liggeren, from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild. Membership also allowed members to sell works at the guild-owned showroom, Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482. Guilds of St. Luke in the Dutch Republic began to reinvent themselves as cities there changed over to Protestant rule, many St. Luke guilds reissued charters to protect the interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the republic became more important artistic centres in the late sixteenth. Amsterdam was the first city to reissue a St. Lukes charter after the reformation in 1579, and it included painters, sculptors, engravers, for example, Gouda, Rotterdam, and Delft, all founded guilds between 1609 and 1611. On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem, in the Haarlem Guild of St. Luke, however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected
7.
Santi Luca e Martina
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Santi Luca e Martina is a church in Rome, Italy, situated between the Roman Forum and the Forum of Caesar and close to the Arch of Septimus Severus. The church was dedicated to Saint Martina, martyred in 228 AD during the reign of Emperor Alexander Severus. In 625 Pope Honorius I commissioned construction of the church, in 1577 the Accademia di San Luca, the academy of painters, sculptors and architects in Rome, was founded and in 1588 it was given the church which was rededicated as S. Luca in S. Martina. The academy undertook minor refurbishments of the church and also there were projects for a new church prepared in drawings attributed to Ottaviano Mascherino, gradually the academy began to acquire properties adjacent to the church. In 1634, Pietro da Cortona was elected president of the academy, almost at once he began restoration of the crypt and, as was common at this time in Rome, buried remains were found and were attributed to the martyred Saint Martina. No doubt it was hoped that this would precipitate an influx of funds to shelter the relics in a new church, at the time of Cortonas death in 1669, some parts, such as the interior dome decoration, were still incomplete. The plan of the church is almost a Greek cross with nearly equal arms. Large Ionic columns, supporting an entablature, cluster around the crossing and populate the wall spaces of the apsidal transepts, choir. The windows in the vaults are each surmounted by a split pediment with a head in a scallop shell with octagonal coffering above. A circular opening in the vault of the octagonal chapel allows a view through up to the dome of the upper church, other elements such as pediments and mouldings are allowed to project between the columns to create spatial tensions which are reminiscent of Florentine Mannerism. Below this is a marble statue of the martyred S. Martina by Nicolo Menghini. In the left transept is an Assumption and Saint Sebastian by Sebastiano Conca, inside the main entrance door to the upper shurch, a stone slab marks Cortonas burial place and there is a wall memorial with a bust of Cortona by Bernrdo Fioiti in the lower church. The sculptures of the Evangelists in the pendentives of the dome are 18th-century additions sculpted by Filippo della Valle, Camillo Rusconi, to the right of the entrance is the monument to Carlo Pio Balestra by Tommaso Righi and a Monument to Giovanna Garzoni by Mattia De Rossi. In the sacristy is a relief of the Ecstasy of St Mary Magdalene by Alessandro Algardi
8.
Pietro da Cortona
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Pietro da Cortona was an Italian Baroque painter and architect. Along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini and he was also an important designer of interior decorations. He was born Pietro Berrettini, but is known by the name of his native town of Cortona in Tuscany. He worked mainly in Rome and Florence, only a limited number of his architectural projects were built but nonetheless they are as distinctive and as inventive as those of his rivals. Berrettini was born into a family of artisans and masons, in Cortona and he trained in painting in Florence under Andrea Commodi, but soon he departed for Rome at around 1612/3, where he joined the studio of Baccio Ciarpi. In Rome, he had encouragement from many prominent patrons, according to Cortonas biographers his gifted copy of Raphaels Galatea fresco brought him to the attention of Marcello Sacchetti, papal treasurer during the Barberini papacy. Such contacts helped him gain a major commission in Rome. In 1633, Pope Urban VIII commissioned from Cortona a large painting for the main salon ceiling of the Barberini family palace. It was completed six years later, following Cortonas influential visit to northern Italy where he would have seen at first hand perspectival works by Paolo Veronese, Cortonas huge Allegory of Divine Providence and Barberini Power marks a watershed in Baroque painting. The ornamented architectural framework essentially forms five compartments, the central and most significant part celebrates the glorification of the reign of Urban VIII in a light filled scene populated with allegorical figures and Barberini family emblems. The illusion of spatial extension through paint, the grandiose theme, the first two represented the ages of silver and gold. In 1641, he was recalled to paint the Bronze Age and he began work on the decoration of the grand-ducal reception rooms on the first floor of the Palazzo Pitti, now part of the Palatine Gallery. These highly ornate ceilings with frescoes and elaborate stucco work essentially celebrate the Medici lineage, Pietro left Florence in 1647, and his pupil and collaborator, Ciro Ferri, completed the cycle by the 1660s. For a number of years, Cortona was involved for decades in the decoration of the frescoes in the Oratorian Chiesa Nuova in Rome. Other frescoes are in Palazzo Pamphilj in Piazza Navona, in 1660, he executed The Stoning of Saint Stephen for the church of San Ambrogio della Massima in Rome. The work currently hangs in the Hermitage, towards the end of his life he devoted much of his time to architecture, but he published a treatise on painting in 1652 under a pseudonym and in collaboration. He refused invitations to both France and Spain and he was elected as director of the Academy of St Luke the painters guild in Rome, in 1634. It was at the Academy in 1636 that Cortona and Andrea Sacchi were involved in controversies regarding the number of figures that were appropriate in a painted work
9.
Illuminated manuscript
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An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders and miniature illustrations. Comparable Far Eastern and Mesoamerican works are described as painted, islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject, for an art-historical account, the earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians, the majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity. The majority of manuscripts are of a religious nature. However, especially from the 13th century onward, a number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls, a very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment, beginning in the late Middle Ages manuscripts began to be produced on paper. Illuminated manuscripts continued to be produced in the early 16th century, Manuscripts are among the most common items to survive from the Middle Ages, many thousands survive. They are also the best surviving specimens of medieval painting, indeed, for many areas and time periods, they are the only surviving examples of painting. There are a few examples from later periods, the type of book that was most often heavily and richly illuminated, sometimes known as a display book, varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels, the Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also illuminated in both this and the Gothic period. Finally, the Book of Hours, very commonly the personal book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods, the Byzantine world also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types, reusing parchments by scraping the surface and reusing them was a common practice, the traces often left behind of the original text are known as palimpsests. The Gothic period, which saw an increase in the production of these beautiful artifacts, also saw more secular works such as chronicles
10.
Pope Sixtus IV
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Pope Sixtus IV, born Francesco della Rovere, was Pope from 9 August 1471 to his death in 1484. His accomplishments as pope included building the Sistine Chapel and the creation of the Vatican Archives, a patron of the arts, the group of artists that he brought together introduced the Early Renaissance into Rome with the first masterpieces of the citys new artistic age. Sixtus aided the Spanish Inquisition, though he fought to prevent abuses therein and he was famed for his nepotism and was personally involved in the infamous Pazzi conspiracy. Francesco was born to a family of modest means from Liguria, Italy and he was born in Celle Ligure, a town near Savona. He went on to lecture at Padua and many other Italian universities, in 1464, Della Rovere was elected Minister General of the Franciscan order at the age of 50. In 1467, he was appointed Cardinal by Pope Paul II with the church being the Basilica of San Pietro in Vincoli. Before his papal election, Cardinal della Rovere was renowned for his unworldliness and had even written learned treatises entitled On the Blood of Christ and On the Power of God. His pious reputation was one of the factors that prompted the College of Cardinals to elect him pope upon the unexpected death of Paul II at the age of fifty-four. Upon being elected pope Della Rovere adopted the name Sixtus – a name that had not been used since the 5th century, one of his first acts was to declare a renewed crusade against the Ottoman Turks in Smyrna. However, after the conquest of Smyrna, the fleet disbanded, some fruitless attempts were made towards unification with the Greek Church. For the remainder of his pontificate, Sixtus turned to temporal issues, Sixtus IV sought to strengthen his position by surrounding himself with relatives and friends. His nephew Pietro Riario also benefited from his nepotism, Pietro became one of the richest men in Rome and was entrusted with Pope Sixtus foreign policy. However, Pietro died prematurely in 1474, and his role passed to Giuliano della Rovere, six of the thirty-four cardinals that he created were his nephews. Francesco Salviati, Archbishop of Pisa and an organizer of the plot, was hanged on the walls of the Florentine Palazzo della Signoria. To this, Sixtus IV replied with an interdict and two years of war with Florence, however, Infessura had partisan allegiances to the Colonna and so is not considered to be always reliable or impartial. However, such accusations are easily dismissed as propaganda, but did nevertheless prompt the noted historian of the Catholic Church, Ludwig von Pastor. Sixtus continued a dispute with King Louis XI of France, who upheld the Pragmatic Sanction of Bourges, according to which papal decrees needed royal assent before they could be promulgated in France. This was a cornerstone of the claimed for the Gallican Church
11.
Paul V
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Pope Paul V, born Camillo Borghese, was Pope from 16 May 1605 to his death in 1621. He is best remembered today as the Pope who persecuted Galileo Galilei, Camillo Borghese was born on 17 September 1550 into the noble Borghese family of Siena which had recently fled to Rome, thus the reason as to why ROMANUS appears in most of his inscriptions. He began his career as an educated at Perugia and then in Padua. In June 1596 he was made the Cardinal-Priest of SantEusebio and the Cardinal Vicar of Rome by Pope Clement VIII, during this time, he opted for other titular churches like San Crisogono and Santi Giovanni e Paolo. Clement VIII also bestowed upon him episcopal consecration in 1597 after his appointment as Bishop of Jesi, in character he was very stern and unyielding, a lawyer rather than diplomat, who defended the privileges of the Church to his utmost. His first act was to send home to their sees the bishops who were sojourning in Rome, Paul met with Galileo Galilei in 1616 after Cardinal Bellarmine had, on his orders, warned Galileo not to hold or defend the heliocentric ideas of Copernicus. Whether there was also an not to teach those ideas in any way has been a matter for controversy. Paul V canonised Charles Borromeo on 1 November 1610 and Frances of Rome on 29 May 1608 and he also canonized Pompejanus in 1615 and canonized Cardinal Albert de Louvain on 9 August 1621. He also beatified a number of individuals which included Ignatius Loyola, Philip Neri, Theresa of Avila, and Francis Xavier. Venice passed two laws obnoxious to Paul, one forbidding the alienation of real estate in favour of the clergy, two priests charged by the Venetian state with cruelty, wholesale poisoning, murder and licentiousness, were arrested by the Senate and put in dungeons for trial. Having been found guilty, they were committed to prison, Paul V insisted that they be released to the Church. He demanded the release of the priests as not being amenable to the secular law, when this was refused, the Pope threatened an interdict on account of the property laws and the imprisonment of ecclesiastics, which threat was presented to the Senate on Christmas 1605. The Venetian position was defended by a canon lawyer, Paolo Sarpi. In April 1606 the Pope excommunicated the entire government of Venice, Father Sarpi strongly advised the Venetian government to refuse to receive the Popes interdict, and to reason with him while opposing force by force. The rest of the Catholic clergy sided with the city, with the exception of the Jesuits, the Theatines, the dissenting clergy were forthwith expelled from Venetian territories. Masses continued to be said in Venice, and the feast of Corpus Christi was celebrated with displays of pomp and magnificence. Within a year the disagreement was mediated by France and Spain, the Most Serene Republic refused to retract the laws, but asserted that Venice would conduct herself with her accustomed piety. The Jesuits, which Venice considered subversive Papal agents, remained banned, in September 1607, after unsuccessfully attempting to lure Father Sarpi to Rome, the Pope responded by putting out a contract on his life
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Pope Urban VIII
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Pope Urban VIII, reigned as Pope from 6 August 1623 to his death in 1644. He expanded the territory by force of arms and advantageous politicking, and was also a prominent patron of the arts. However, the debts incurred during his pontificate greatly weakened his successors. He was also involved in a controversy with Galileo and his theory on heliocentrism during his reign and he is the most recent pope to date to take the pontifical name of Urban upon being elected as pope. He was born Maffeo Barberini in April 1568 to Antonio Barberini, a Florentine nobleman and his father died when he was only three years old and his mother took him to Rome, where he was put in the charge of his uncle, Francesco Barberini, an apostolic protonotary. At the age of 16 he became his uncles heir and he was educated by the Society of Jesus, and received a doctorate of law from the University of Pisa in 1589. In 1601, Barberini, through the influence of his uncle, was able to secure from Pope Clement VIII appointment as a legate to the court of King Henry IV of France. In 1604, the pope appointed him as the Archbishop of Nazareth. At the death of his uncle, he inherited his riches, on 6 August 1623, at the papal conclave following the death of Pope Gregory XV, Barberini was chosen as Gregory XVs successor and took the name Urban VIII. Upon Pope Urban VIIIs election, Zeno, the Venetian envoy, wrote the description of him. His Holiness is tall, dark, with features and black hair turning grey. He is exceptionally elegant and refined in all details of his dress, has a graceful and aristocratic bearing and he is an excellent speaker and debater, writes verses and patronises poets and men of letters. Urban VIIIs papacy covered 21 years of the Thirty Years War, despite an early friendship and encouragement for his teachings, Urban VIII was responsible for summoning the scientist and astronomer Galileo to Rome in 1633 to recant his work. Urban VIII practiced nepotism on a scale, various members of his family were enormously enriched by him. He elevated his brother Antonio Marcello Barberini and then his nephews Francesco Barberini and he also bestowed upon their brother, Taddeo Barberini, the titles Prince of Palestrina, Gonfalonier of the Church, Prefect of Rome and Commander of SantAngelo. Historian Leopold von Ranke estimated that during his reign, Urban VIIIs immediate family amassed 105 million scudi in personal wealth, Urban VIII was a skilled writer of Latin verse, and a collection of Scriptural paraphrases as well as original hymns of his composition have been frequently reprinted. The 1638 papal bull Commissum Nobis protected the existence of Jesuit missions in South America by forbidding the enslavement of natives who were at the Jesuit Reductions. At the same time, Urban VIII repealed the Jesuit monopoly on missionary work in China and Japan, opening these countries to missionaries of other orders and missionary societies
13.
Domenichino
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Domenico Zampieri, known as Domenichino for his shortness, was an Italian Baroque painter of the Bolognese or Carracci School of painters. Domenichino was born in Bologna, son of a shoemaker, and he left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge from Annibale Carraccis supervision. As a young artist in Rome he lived with his slightly older Bolognese colleagues Albani and Guido Reni, and worked alongside Lanfranco, meanwhile, he had completed frescoes c. Following Annibale Carraccis death in 1609, Annibales Bolognese pupils, foremost Domenichino, Albani, Reni and Lanfranco, became the leading painters in Rome. One of Domenichinos masterpieces, his frescoes of Scenes of the Life of Saint Cecilia in the Polet Chapel of San Luigi dei Francesi, was commissioned in 1612 and completed in 1615. Concurrently he painted his first, and most celebrated, altarpiece and it subsequently would be judged as being comparable to Raphaels great Transfiguration and even as the best picture in the world. With the election of a Bolognese pope in 1621, Domenichino returned to Rome, appointed Papal Architect, he nonetheless continued to be most active as a painter, obtaining many commissions for altarpieces in Roman churches. His Scenes from the Life of San Gennaro occupied him for the rest of his life and he painted four large lunettes, four pendentives, and twelve scenes in the soffits of the arches, all in fresco, plus three large altarpieces in oil on copper. He died, perhaps by poison at the hands of the jealous Cabal of Naples, before completing the fourth altarpiece or the cupola, at the time of his death, Domenichinos chief assistant was an obscure painter from Assisi, Francesco Raspantino, who inherited his masters studio. Earlier, Domenichinos principal pupils were Alessandro Fortuna, Giovanni Battista Ruggieri, Antonio Alberti called Barbalonga, Francesco Cozza, Andrea Camassei, others who studied in his studio include Poussin, Pietro Testa, and his future biographer, Giovanni Pietro Bellori. The portrait of Agucchi in York used to be attributed to Domenichino, Imitation in this sense is not copying but a creative process inspired by rhetorical theory whereby revered models are not only emulated but surpassed. Jerome from an altarpiece of the subject in Bologna by his former teacher. Like Domenichinos paintings, its sources were in ancient models and aimed at clarity of expression capable of moving its audience, as the Florentine composer Giulio Caccini held and Domenichino surely believed, the aim of the composer/artist was to move the passion of the mind. To achieve that goal, Domenichino paid particular attention to expressive gestures, Domenichinos composite score of 58 nonetheless was surpassed only by Raphael and Rubens, and it equalled that of the Carracci. The Balance reflects Domenichinos high standing in the history of European taste— until John Ruskin in the 1840s wrote his devastating attacks on Bolognese Baroque painting in his Modern Painters, the Carracci and their followers were condemned by Ruskin as being insincere. For Ruskin, there was no entirely sincere nor any great art from the seventeenth century, in 1996 the first major exhibition of his work was held at the Palazzo Venezia in Rome. 1620, Royal Collection, Hampton Court Madonna of Loreto with Saints John the Baptist, Paterniano, 1618–19, North Carolina Museum of Art) Rinaldo and Armida, c. 1620–21, Louvre, Paris Martyrdom of St Peter Martyr, c, 1622-23, Louvre, Paris Saint Ignatius de Loyola’s Vision of Christ and God the Father, c
14.
Gian Lorenzo Bernini
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Gian Lorenzo Bernini was an Italian sculptor and architect. While a major figure in the world of architecture, he was the sculptor of his age. Bernini was also a figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect Francesco Borromini. Early in their careers they had all worked at the time at the Palazzo Barberini, initially under Carlo Maderno and, following his death. Later on, however, they were in competition for commissions, Peters Basilica, completed under Pope Paul V with the addition of Madernos nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Berninis design of the Piazza San Pietro in front of the Basilica is one of his most innovative, during his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early age, he came to the attention of the nephew, Cardinal Scipione Borghese. Although he did not fare so well during the reign of Innocent X, under Alexander VII, he again regained pre-eminent artistic domination. Bernini and other artists fell from favor in later neoclassical criticism of the Baroque, the art historian Howard Hibbard concludes that, during the seventeenth century, there were no sculptors or architects comparable to Bernini. Bernini was born in Naples in 1598 to Angelica Galante and Mannerist sculptor Pietro Bernini and he was the sixth of their thirteen children. Gianlorenzo Bernini was the definition of childhood genius and he was “recognized as a prodigy when he was only eight years old, he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as ‘the Michelangelo of his century’” and his father was so impressed by his son’s obvious talent that he took him to Rome to showcase him to the cardinals and Pope. Bernini was presented before Pope Paul V, for whom he did a sketch of Saint Paul, once he was brought to Rome, he never left. “For Bernini there could be only one Rome, ‘You are made for Rome, ’ said Pope Urban VIII to him, ‘and Rome for you’”. It was in world of 17th century Rome and religious power. Under the patronage of the wealthy and most powerful Cardinal Scipione Borghese. By the time he was twenty-two, he was considered talented enough to have given a commission for a papal portrait. Berninis reputation, however, was established by four masterpieces
15.
Cortona
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Cortona is a town and comune in the province of Arezzo, in Tuscany, Italy. It is the cultural and artistic center of the Val di Chiana after Arezzo. Originally an Umbrian city, it was conquered and enlarged by the Etruscans, during the 7th century BC, it joined the Etruscan League. Cortona eventually became a Roman colony under the name Corito, the origin-legends and ancient names of Cortona are described by George Dennis. In the final stages of the Gothic War, Cortona was sacked and destroyed by a warrior named Michael Pasquale, whose mother was Macedonian royalty, Cortona became a Ghibellinian city state in the 13th century, with its own currency. From 1325 to 1409, the Ranieri-Casali family successfully ruled the town, after being conquered by Ladislaus of Naples in 1409, Cortona was sold to the Medici in 1411. In 1737, the branch of the Medici line became extinct. Following the Italian Wars of Independence, Tuscany—Cortona included—became part of the Kingdom of Italy, the foundation of Cortona remains mixed in legends dating to classical times. These were later reworked especially in the late Renaissance period under Cosimo I de Medici, the 17th-century Guide of Giacomo Lauro, reworked from writings of Annio da Viterbo, states that 108 years after the Great Flood, Noah entered the Valdichiana via the Tiber and Paglia rivers. He preferred this place better than anywhere else in Italy, because it was so fertile, in 2000 Cortona established Cortona DOC. The goal is controlling and protecting the wines of D. O. C, currently Cortona DOC has 29 members and produce and control 14 different types of wines. The prevailing character of Cortona’s architecture is medieval with steep narrow streets situated on a hillside at an elevation of 600 metres that embraces a view of the whole of the Valdichiana. From the Piazza Garibaldi is a prospect of Lake Trasimeno. Parts of the Etruscan city wall can still be today as the basis of the present wall. The main street, via Nazionale, is the street in the town with no gradient. Inside the Palazzo Casali is the Museo dellAccademia Etrusca, displaying items from Etruscan, Roman, the distinguished Etruscan Academy Museum had its foundation in 1727 with the collections and library of Onofrio Baldelli. Its iconography includes alternating figures of Silenus playing panpipes or double flutes, within zones representing waves, dolphins and fiercer sea-creatures is a gorgon-like face with protruding tongue. Between each burner is a horned head of Achelous
16.
Andrea Sacchi
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Andrea Sacchi was an Italian painter of High Baroque Classicism, active in Rome. His father, Benedetto, was an undistinguished painter, according to the biographer Giovanni Pietro Bellori, Andrea initially entered the studio of Cavalier dArpino. Sacchi later entered Francesco Albanis workshop and spent most of his time in Rome where he eventually died, much of his early career was helped by the regular patronage by Cardinal Antonio Barberini, who commissioned art for the Capuchin church in Rome and the Palazzo Barberini. He reputedly travelled to Venice and Parma and studied the works of Correggio, two of his major works on canvas are altarpieces now displayed in the Pinacoteca Vaticana, the painting gallery in the Vatican. As a young man, Sacchi had worked under Cortona at the Villa Sacchetti at Castelfusano, but in a set of public debates at the Accademia di San Luca, the guild for artists in Rome, he strongly criticized Cortonas exuberance. The debate is significant because it indicates how two of the proponents of the prevailing styles in painting, now called Classical and Baroque. In particular, Sacchi advocated that since a unique, individual expression, gesture and movement needed to be assigned to each figure in a composition, in a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this was a reaction against the excess of crowds in paintings by artists such as Zuccari in the previous generation. Simplicity and unity were essential to Sacchi who, drawing an analogy to poetry, in his counter-argument, Cortona made the case that large paintings with lots of figures were like an epic which could develop multiple sub-themes. But for Sacchi, the encrustation of a painting with excess decorative details, including melees of crowds, among the partisans of Sacchis argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin. The controversy was however less pitched than some might suggest, Sacchi and Albani, among others, shared dissatisfaction with the artistic depiction of low or genre subjects and themes, such as those preferred by the Bamboccianti and even the Caravaggisti. They felt that art should focus on exalted themes- biblical, mythological. Sacchi, who worked almost always in Rome, left few pictures visible in private galleries and he had a flourishing school, Carlo Maratta was a younger collaborator or pupil. In Marattas large studio, Sacchis preference for a grand manner style would find pre-eminence among Roman circles for decades to follow, but many others worked under him or his influence including Francesco Fiorelli, Luigi Garzi, Francesco Lauri, Andrea Camassei, and Giacinto Gimignani. Sacchis own illegitimate son Giuseppe, died young after high hopes for his future, Sacchi died at Nettuno in 1661. This fresco by Sacchi in the Palazzo Barberini in Rome is considered his masterpiece, the work was inspired by Raphaels Parnasus in the Raphaels Rooms in the Vatican Palace. The eye take in the fresco but also to penetrate beyond to the next door. From the right point of view the sun of Divine Wisdom looks as though it is hovering over the dome of the chapel, is convincing because it is also a political interpretation
17.
Bamboccianti
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The Bamboccianti were genre painters active in Rome from about 1625 until the end of the seventeenth century. Despite their lowly subject matter, the works sold for high prices to esteemed collectors. Many of the associated with the Bamboccianti were members of the Bentvueghels. It was customary for the Bentvueghels to adopt an appealing nickname, the bent name of the Dutch painter Pieter van Laer was Il Bamboccio, which means ugly doll or puppet. This was an allusion to van Laers ungainly proportions, van Laer is regarded as the initiator of the Bamboccianti style of genre painting and his nickname gave the genre and the group of artists its collective name. He became the inspiration and focal point around which likeminded artists congregated during his stay in Italy, the initial Bamboccianti included Andries and Jan Both, Karel Dujardin, Jan Miel, Johannes Lingelbach and the Italian Michelangelo Cerquozzi. Sébastien Bourdon was also associated with group during his early career. Other Bamboccianti include Michiel Sweerts, Thomas Wijck, Dirck Helmbreker, Jan Asselyn, Anton Goubau, Willem Reuter, the Bamboccianti influenced Rococo artists such as Domenico Olivieri, Antonio Cifrondi, Pietro Longhi, Giuseppe Maria Crespi, Giacomo Ceruti, and Alessandro Magnasco. Their paintings of everyday Roman life continued into the century through the works of Bartolomeo and Achille Pinelli, Andrea Locatelli. A Bambocciante not yet identified painted also an Assalto darmati, now in the Forlì Pinacoteca Civica, however, their contemporaries did not generally regard the Bamboccianti as realists. They thus stand in a tradition of paradox in which low or vulgar subjects were the vehicle for conveying important philosophical meanings. For instance, the Bamboccianti regularly made paintings of gigantic limekilns outside Rome and these limekilns used the marble and travertine blocks of the Roman antique ruins as raw material and thus played a direct role in the destruction of Romes ancient monuments. The limekilns themselves are painted in a way as if they were the new monuments of Rome. The kilns created something new from the ruins of ancient Rome, the paintings of these limekilns can therefore be read as a reflection on the transience of glory as well as the regenerative power of Rome. In other words, these paintings were intended to be read ironically and allegorically and not as exact and these works were repeatedly used as a model by the Bamboccianti from the second half of the century and by the genre painters working in Rome during the early 18th century. Miels most original contribution to genre are his carnival scenes. The success of the genre was not confined to Rome, but extended to Florence and France, as seen in the patronage of figures like the Cardinals Leopoldo de Medici and Mazarin. The success of the genre is partly explained by a change in the mode of decorating the houses of the classes in Rome
18.
Giovanni Pietro Bellori
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His Lives of the Artists, published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. As an art historical biographer, he favoured classicising artists rather than Baroque artists to the extent of omitting some of the key figures of 17th-century art altogether. Bellori, possibly the nephew of the collector and writer Francesco Angeloni. As a young man, he took art lessons from the painter Domenichino and became a member of the Accademia di San Luca. Bellori was curator of antiquities for Pope Clement X, in 1671, he was appointed secretary of the Accademia di San Luca. He was later appointed as librarian and antiquarian to Queen Christina of Sweden and he died in 1696 in Rome and was buried in the Church of S. Isidoro. In 1664 Bellori delivered a speech to the Accademia on the Ideal in Art. In 1672 he published this as a preface to his biographies of recent and contemporary artists, entitled and he planned a work on Bolognese artists, but, only completed entries for Guido Reni, Andrea Sacchi and Carlo Maratta. Bellori advocated idealism over realism or naturalism and this famously led to Belloris reverence of the painting of Annibale Carracci and repudiation of Caravaggio. His writing of the Idea is influenced by Giovanni Battista Agucchi, Vasari, Leon Battista Alberti, Aristotle, Bellori often relied for his facts on the earlier biographies of Roman artists by Giovanni Baglione. Vasaris definition of disegno or design, at that time seen as the most important artistic element, is tied up in the concept of prudence. An artists work could essentially be seen as a series of choices, and this forms the basis of subsequent value judgments in art by Bellori and his contemporaries. Bellori and Agucchi, after Aristotle, equated the practice of idealism with prudent choice, vite dePittori, Scultori et Architetti Moderni, Parte Prima. Corpus informatico belloriano a cura di Paola Barocchi, Sonia Maffei, centro di Ricerche Informatiche per i Beni Culturali della Scuola Normale di Pisa. Patrons and Painters, Art and Society in Baroque Italy, commentary on Annibale Carracci Introduces Painting to Apollo and Minerva, etching by Pietro Aquila, after a drawing by Carlo Maratti, frontispiece to Galeriae Farnesianae Icones. A catalogue of Carraccis Palazzo Farnese drawings, published by Giovanni Giacomo de Rossi in 1674, metropolitan Museum of Art website, accessed 3 March 2015. 3, pp. 673–675, in The Dictionary of Art, Art and Architecture in Italy 1600–1750, sixth edition in 3 volumes, revised by Joseph Connors and Jennifer Montagu. Erwin Panofsky, Idea, A Concept in Art Theory at Art History Resources
19.
Marco Benefial
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Marco Benefial was an Italian, proto-Neoclassical painter, mainly active in Rome. Benefial is best known for his repudiation of 18th century decorative Rococo styles pre-eminent in the Rome dominated by Carlo Maratta pupils and his paintings portrayed tangible human figures, with complex treatment of space, and luminous, warm colors. Along with the altarpieces and frescoes, he painted many portraits. Because he partnered with some artists who subsequently received credit. Marco Benefial was born in Rome in 1684, and died there in 1764, in 1720, he protested the Accademia di San Lucas decree that only members or those meeting the approval of the painters guild could teach drawing. The decree also required students to provide the academy with a fee equal to a pound of wax and his appeal to the councils of Pope Clement XI succeeded in having the ruling revoked. After Benefial was finally elected into the Accademia di San Luca at the age of 57, he denounced its members mediocrity and ignorance. In 1716, he had painted a San Saturnino for the church of Santi Giovanni e Paolo and his 1718 papal commission for a Jonah, painted for Basilica of St. John Lateran, was rewarded also by the papacy with the title of Cavaliere. During 1720-27, he completed painting on the Story of san Lorenzo for the Duomo of Viterbo, in 1721, he completed a Pieta with angels & symbols of the passion for the church in the monastery of Santa Maria dei Sette Dolori. He painted for the church of Santa Maria alle Fornaci, two lunettes on the story of John the Baptist, from 1722-1727, he completed four canvases for the Collegiata del Crocifix in Monreale. In 1729-1732, he painted two canvases of Santa Margherita da Cortona for the church of Santa Maria in Aracoeli, as commissioned by cardinal Pietro Marcello Corradini and he often collaborated in paintings with Filippo Evangelista. He is remembered for urging a return to the foundations of Italian painting, as exemplified by Raphael, del Sarto. Among his pupils were Anton Raphael Mengs, Antonio Liozzi, Giovanni Battista Ponfredi, Gioacchino Martorana, and Mariano Rossi
20.
Tommaso Laureti
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Tommaso Laureti, often called Tommaso Laureti Siciliano, was an Italian painter from Sicily who trained in the atelier of the aged Sebastiano del Piombo and worked in Bologna. From 1582, he worked for patrons in Rome in a Michelangelo-inspired style with special skill in illusionistic perspective. Laureti was born in Palermo, Sicily and he painted a Transportation of the Body of Saint Augustine for the church of San Giacomo Maggiore in Bologna. The Mannerist structural elements of the marble and bronze Fountain of Neptune in Bologna and this commission from Pope Pius IV is undoubtedly Lauretis most familiar public work. In the church of Santa Susanna in Rome, Lauretis Death of Saint Susanna the main altarpiece in the church, the central theme is surrounded by allegorical female figures representing the Italian provinces. The ceiling was completed under the pontificate of Sixtus V, which had grown discontent with the performance of Laureti. The rigorous illusionistic perspectives represent the painters constant fascination with the art of perspective, baglione in his biographies of artists states Laureti was assisted by the painter Antonio Scalvati. For the Basilica of San Prospero in Reggio Emilia, he painted an altarpiece depicting the Assumption, Laureti was the second principe or director of the Accademia di San Luca or the artists academy in Rome, succeeding Federico Zuccari in 1595. His commemorative portrait by Orazio Borgianni, is still on display in the Accademia di San Luca, freedberg, Sydney J. Pelican History of Art, ed
21.
Giovanni de' Vecchi
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Giovanni de Vecchi was an Italian painter of the Renaissance period. He also has paintings of the Life of St. Jerome in Ara Coeli In the cupola of the Gesu, the mosaics for the tribune of St. Peters basilica with St. John and St. Luke are based on his cartoons. He also contributed to the frescoes in the Roman Oratorio del Santissimo Crocifisso, one of his pupils was Cesare Torelli Romano. Ralph Nicholson Wornum, ed. Biographical catalogue of the principal Italian painters, woodfall & Kinder, Angel Court, Skinner Street, London, Digitized by Googlebooks from Oxford University copy on Jun 27,2006
22.
Cesare Nebbia
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Cesare Nebbia was an Italian painter from Orvieto who painted in a Mannerist style. He trained with Girolamo Muziano, and under this master, he helped complete a flurry of decoration that was added to the Cathedral of Orvieto in the 1560s, almost all the remaining work in Orvieto is now in the Museo del Duomo. Nebbia and Muziano became active in many of the projects in late 16th-century Rome. Along with Muzianos other assistant, Giovanni Guerra, they decorated the Gregorian Chapel in the St Peters Basilica during the pontificate of Gregory XIII, other Mannerist painters that were involved in this enterprise were Taddeo and Federico Zuccari, Niccolò Circignani, and Hendrick van den Broeck. The fresco decorations in Palazzo Simonelli in Torre San Severo have been attributed to Nebbia, in 1576, he painted a Resurrection of Lazarus for the Church of Santa Maria dei Servi in Città della Pieve. The decoration for the church, and for the chapel, shows scenes of the Life of the Virgin, laurence or Sancta Sanctorum of the gothic Lateran Palace, and held numerous relics, including the icon of Santissimi Salvatore Acheiropoieton. These staircases were said to have been originally from the palace of Pilate in Jerusalem, numerous preliminary drawings by Nebbia exist for these frescoes. Nebbia helped paint galleries in Vatican libraries including the ceilings of map gallery, during Clement VIII he designed the pendentive mosaics depicting the Evangelists Matthew and Mark for St. Peters Basilica. He painted a Crucifixion for Borghese chapel in the church of Trinità dei Monti and he painted a Resurrection for San Giacomo degli Spagnoli. He painted a Coronation of the Virgin for the church of Santa Maria dei Monti, along with the painter known as il Bertoia, Federico Zuccari and others, he helped fresco the walls of the Oratorio del Gonfalone in Rome. He also contributed to the decoration of the Oratory of Santissimo Crocifisso, der Zeichner und Maler Cesare Nebbia, Mit einem Katalog der Zeichnungen. Cesare Nebbias Work for the Palazzo Simoncelli, Drawings and Frescoes, artistic Co-Operation in Late Sixteenth-Century Rome, The Sistine Chapel in S. Maria Maggiore and the Scala Santa. Freedberg, Sydney J. Pelican History of Art, ed, le Vite de’ Pittori, Scultori, Architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. Fino a’ tempi de Papa Urbano VIII. nel 1642
23.
Durante Alberti
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Durante Alberti was an Italian painter of the late-Renaissance period. He was born in Borgo San Sepolcro and he was active mainly in his native town and Rome, where he arrived during the papacy of Gregory XIII. He was also called Durante del Nero and his son Pierfrancesco was also a painter and engraver. His brother, Cosimo, was a sculptor, engraver, and his daughter Chiara was a painter. He was related to the sculptor Alberto, and the painters Alessandro, Giovanni and he painted for the church of San Girolamo della Carità, one of the chapels in fresco and an altar-piece in oil, representing the Virgin and child with Saints Bartolomeo and Alessandro. For Santa Maria dei Monti, he painted an Annunciation and he also painted the Martyrs Painting in the Main Chapel of the Venerable English College in Rome. The painting represents the Blessed Trinity and St Thomas to whom the church was dedicated, forty four of these students have been declared by the Catholic Church Saints and Martyrs. Durante Alberti was buried at Santa Maria del Popolo, O Roma Felix by H. O. Flaherty & J. Smit. Also The Venerable English College Rome by Michael E. Williams, hobbes, James R. Picture collectors manual adapted to the professional man, and the amateur. T&W Boone,29 Bond Street, Digitized by Googlebooks, dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni etá e d’ogni nazione. Gaetano Schiepatti, Digitized by Googlebooks, Jan 24,2007, le Vite de’ Pittori, Scultori, Architetti, ed Intagliatori dal Pontificato di Gregorio XII del 1572. Fino a’ tempi de Papa Urbano VIII. nel 1642, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
24.
Flaminio Vacca
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Flaminio Vacca or Vacchi was an Italian sculptor. His self-portrait is conserved in the Protomoteca Capitolina on the Campidoglio, at the Villa Medici the two marble Medici lions flank the staircase, one is Roman, its pendant, made to match it in 1600, was by Flaminio Vacca. In Santa Susanna, the prophets Ezekiel and Daniel have been attributed to him and his pithy numbered anecdotal notes consistently begin Mi ricordo. A modern account of his career is Sergio Lombardi, Flaminio Vacca, in Roma di Sisto V, Le arti e la cultura, Maria Luisa Madonna, ed
25.
Giuseppe Cesari
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Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere dArpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V and he was the chief of the studio in which Caravaggio trained upon the younger painters arrival in Rome. Cesaris father, Muzio Cesari, had been a native of Arpino, here, he was apprenticed to Niccolò Pomarancio. Cesari is stigmatized by Lanzi, as not less the corrupter of taste in painting than Marino was in poetry, Cesaris first major work done in his twenties was the painting of the right counterfacade of San Lorenzo in Damaso, completed from 1588 to 1589. On 28 June 1589, he receives the commission for the murals of the vault in the Certosa di San Martino in Naples. From 1591 he is again in Rome, where he painted the vault in the Contarelli Chapel within the church of San Luigi dei Francesi and he also completed murals in the Cappella Olgiati in Santa Prassede, and the vault of the Sacristy in the Certosa di San Martino. He was a man of touchy and irascible character, and rose from penury to the height of opulence and his brother Bernardino Cesari assisted in many of his works. Cesari became a member of the Accademia di San Luca in 1585, in 1607, he was briefly jailed by the new papal administration. He died in 1640, at the age of seventy-two, or perhaps of eighty and his only direct followers were his sons Muzio and Bernardino. Pier Francesco Mola apprenticed in his studio, other pupils include Francesco Allegrini da Gubbio, Guido Ubaldo Abatini, Vincenzo Manenti, and Bernardino Parasole. His most notable and perhaps surprising pupil was Caravaggio, 1593-94, Caravaggio held a job at Cesaris studio as a painter of flowers and fruit. London, Macmillan Hobbes, James R. Picture collectors manual, T. & W. Boone,29 Bond Street, London, Digitized by Googlebooks from Oxford library
26.
Pietro Bernini
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Pietro Bernini was an Italian sculptor. He was the father of one of the most famous artists of Baroque, Bernini was born in Sesto Fiorentino, Tuscany. He moved to Naples to work on the Certosa di San Martino there, in 1605 the family moved to Rome under the protection of Cardinal Scipione Borghese. In Rome he worked on projects for Pope Paul V, another Borghese. One of Pietro Berninis best known contributions to the city of Rome is the Fontana della Barcaccia which resembles a ship and is located at the foot of the Spanish Steps. It was commissioned by Pope Urban VIII and built in 1627 and he also contributed to the Fountain of Neptune, Naples, completed between 1600 and 1601. Overshadowed by the talent of his son, the elder Bernini ended his career as an independent sculptor around 1617 and he died in Rome, aged 67
27.
Gaspare Celio
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Gaspare Celio was an Italian painter of the late-Mannerist and early-Baroque period, active mainly in his native city of Rome. Celio was the pupil of Circignani, according to Baglione, but of Cristoforo Roncalli and his first commissions in about 1596 were completed with Giuseppe Valeriano who asked Celio to decorate the Chapel of the Passion in the church of il Gesù in Rome. This work was done after the design of P and he also paints a Madonna and Bambino, now in Santa Maria del Carmine, a The Passage of Moses through the Red Sea in a vault of the Palazzo Mattei, a Death of the Giants. He painted a St Francis for the altar of the Ospizio at Ponte Sisto and he painted a History of S. Raimondo at the Santa Maria sopra Minerva. Between 1620 -1638 he helps publish a guide to the churches and he briefly worked in Parma as a painter for the court of Ranuccio Farnese. Francis, an altar of the Ospizio at Ponte Sisto History of Saint Raymond, paintings in Italy, 1500-1600 The Grove Dictionary of Art, MacMillan Publishers José Luis Colomer, Arte y diplomacia de la monarquía hispánica en el siglo XVII, CEEH. ISBN 84-933403-0-8 Comune di Bozzolo, Gruppo Culturale Per Bozzolo, Il Principe e la Città, giulio Cesare Gonzaga di Bozzolo, Modena,1994
28.
Cherubino Alberti
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Cherubino Alberti, also called Borghegiano, was an Italian engraver and painter. He is most often remembered for the Roman frescoes completed with his brother Giovanni Alberti during the papacy of Clement VIII and he was most prolific as an engraver of copper plates. Alberti was born in 1553 in Borgo San Sepolcro, Tuscany and he was the second son of Alberto Alberti, a carver and sculptor, and his brothers Alessandro Alberti and Giovanni Alberti were artists as well. Alberti studied in Rome under Cornelius Cort and worked as an engraver and his early influences included Raphael and contemporary Mannerist art. Between 1571 and 1575 he made engravings after works of Federico, over the next ten years his engravings included works after Raphael, Michelangelo, Polidoro da Caravaggio, Andrea del Sarto, Rosso Fiorentino, Marco Pino, Pellegrino Tibaldi, and Cristofano Gherardi. He also produced based on ancient statues. Later in life Alberti decorated palaces and churches with paintings in fresco and his most famous work was the fresco decoration of Sala Clementina in the Vatican, which he completed with his brother Giovanni. He painted for the church of Santa Maria in Via Lata and he may have been first a pupil of Cornelis Cort, and afterwards by studying the works of Agostino Carracci and Francesco Villamena. At his death in Rome Alberti was Director of the Academy of Saint Luke, over 180 engravings are attributed to Alberti, including, Portrait of Pope Gregory XIII. St. Susannah resting against a pedestal, with a sword St. Jerome, meditating on the Crucifix The Crucifixion, after Michelangelo St. The Death of the Children of Niobe, in five sheets Rape of the Sabines, after another frieze from Polidoro da Caravaggio The Triumph of Camillus, the Presentation at the Temple, The Resurrection, and the The Holy Family after Raphael. A piece of architecture, after the same, in two prints, the Baptism of our Saviour, by St. John and The Miracle of St. Philip Benizzo after Andrea del Sarto. Tobit and the Angel, after Pellegrino Tibaldi Christ praying in the Garden, the Adoration of the Shepherds, The Holy Family, The Scourging of Christ, Conversion of St. Paul, and Assumption of the Virgin, after Taddeo Zuccari. Assumption and The Coronation of the Virgin, after Federico Zuccari, Dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell, Painters and their Works, A Dictionary of Great Artists who are Not Now Alive. Notices of Engravers and their Works, London, Longman, Rees, Orme, Brown & Green. Firenze, Grafica European Center of Fine Arts
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Ottavio Leoni
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Ottavio Leoni was an Italian painter and printmaker of the early-Baroque, active mainly in Rome. Ottavio Leoni, draughtsman and engraver was in his day the most fashionable portraitist in Rome and he has long since been almost entirely forgotten. Only The Most painstaking histories of engraving even mention his name, * He was born in Rome, where he first trained with his father, Lodovico Leoni. He became a member, and later president, of the Accademia di San Luca, ottavio Leoni was also the engraver of a set of portraits of painters. His portrait of Michelangelo Merisi Caravaggio is the only documented portrait of the painter by another artist, the Print Collectors Quarterly/Vol 6, NO4. Houghton Mifflin Company,4 Park Street, Boston, ralph Nicholson Wornum, ed. Biographical catalogue of the principal Italian painters. Woodfall & Kinder, Angel Court, Skinner Street, London, walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
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Giovanni Baglione
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Giovanni Baglione was an Italian Late Mannerist and Early Baroque painter and art historian. He was born and died in Rome, but from his own account came from a family of Perugia. A pupil of the obscure Florentine artist working in Rome, Francesco Morelli, he worked mainly in Rome, to Rudolf Wittkower, his style vacillated between progressive trends, without absorbing them fully. He spent 1621–1622 in Mantua as the court artist of Duke Ferdinando Gonzaga, otherwise he remained in Rome, where he was long successful in attracting commissions from the Papal court and aristocracy. His paintings have been described by the art historian Steven F, the quality of his work declined sharply in the 1630s, by which time he was in his late sixties. He was a member of the Accademia from 1593 until his death, apart from the regular later title of first historian of the Roman Baroque, in his lifetime he was also nicknamed Il Sordo del Barozzo as he suffered from deafness. He died in Rome on 30 December 1643 at the age of 77 and he published two books, The nine churches of Rome, and The Lives of Painters, Sculptors, Architects and Engravers, active from 1572–1642. The latter is seen as an important historical source for artists living in Rome during the lifetime of Baglione. It marks a watershed in the literature of Rome-the turning point between the older tradition of devotional guidebooks. and the modern tradition of artistic guides. His biographies cover over two hundred artists in various media, all of whom had worked in Rome and were dead by the time he published. He carefully notes information about the status and progress of his subjects. He recorded all signs of status, including houses, dress, collections, permission to wear a sword, splendid funerals. Running throughout Le vite, in words, is an abiding concern with the honor of the profession-with the elevated status. As far as possible, his descriptions of works concentrated on those accessible to the public, bagliones best known painting, Sacred Love and Profane Love, was a direct response to Caravaggios Amor Vincit Omnia. Bagliones painting exists in two versions, the earlier in the Gemäldegalerie, Berlin and the later in the Galleria Nazionale dArte Antica at Palazzo Barberini in Rome. Both show Sacred Love as a winged figure interrupting a meeting between Cupid, shown as in the Caravaggio as a smaller and naked winged figure. In the later Rome version the devil is portrayed with the features of Caravaggio. What in the two brothers was probably a family joke reflected serious rivalry between the artists concerned
31.
Agostino Ciampelli
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Agostino Ciampelli was an Italian painter of the Baroque period. At the Basilica of San Giovanni in Laterano, Ciampelli frescoed the walls of the canons sacristy, Agostino Ciampelli was born in Florence, Italy, and grew up with his mother and father. There is little known about his childhood, such as if Agostino had any siblings or the influences of his environment. Agostino trained in the studio of Santi di Tito who was one of the artists of the Counter Reformation in Florence. Under Santi di Titio’s schooling Agostino learned the principles of a conservative, Agostino was said to be a true artistic heir to Santi di Tito and Agostino’s work was very influenced by his mentor. Agostino was admitted into the Accademia del Disegno in Florence in 1585, some of his earliest known works include paintings for a temporary triumphal arch at the entry of Christina of Lorraince into Florence in 1589. These paintings were constructed by Santi and his pupils, Agostino traveled throughout Italy creating different paintings that he is well known for. His oil paintings are known as being direct and simple religious artwork, Agostino’s artwork flourished during the Baroque period. His style of painting was naturalistic and satisfied the Counter-Reformation Church, while in Florence, many pieces were created. Agostino painted a frescoe at the Tornabuoni Chapel, the frescoe depicted the biblical story of Esther and Ahasuerus. Agostino also worked with Andrea Commodi at the Gesu, a painter who assisted Agostino in painting scenes from the like of Ignatius that would later adorn Commodi’s tomb in 1605. Agostino traveled to Rome and was painting under Clement VIII, while in Rome, Agostino painted Crucifixion for Santa Prassede, angels on the walls of the apse of Santa Maria in Trastevere and the Visitiation in Sant Stefano di Pescia. Agostino executed several important pieces of work in Rome. Santi di Tito was an influence to Agostino, impacting his style. Another major role in Agostino’s life was Alessandro de Medici, Alessandro was the most important patron and protector to Agostino. Alessandro took Agostino to Rome in 1594 after Agostino went through schooling from 1590 to 1594 at Florentine Academy in Flornence where he stayed until 1630. Many works were produced with Alessandro and can be found in his church of Santa Prassede. Agostino produced many pieces of artwork in Italy, Two of his paintings that he is well known for are Two Angels Facing Right and Two Angels Facing Left
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Antiveduto Grammatica
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Antiveduto Grammatica was a proto-Baroque Italian painter, active near Rome. Grammatica was born in either Siena or Rome, according to Giovanni Baglione the artist was given the name Antiveduto because his father had a premonition that he would soon be born during a journey between his native Siena and Rome. It was in Rome that Antiveduto was baptised, raised and based his career and his apprenticeship with the Perugian artist Giovanni Domenico Angelini introduced him to small-scale work, mostly on copper. He gained the nickname gran Capocciante because he specialised in painting heads of famous men, a decade later, in 1591, Antiveduto set up as an independent artist. Characterized by Giulio Mancini as most zealous in his profession, Antiveduto began his association with the Accademia di San Luca in 1593, shortly after this, however, he became embroiled in scandal. His fortunes were in a way linked with the Cardinal himself, who was much frowned upon by the Barberini, gianni Papi, Antiveduto Grammatica, Soncino 1995 Helmut Philipp Riedl, Antiveduto della Grammatica Lebun und Werk, Berlin 1998 Antonella Triponi, Antiveduto Grammatica
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Simon Vouet
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Simon Vouet was a French painter and draftsman, who today is perhaps best remembered for helping to introduce the Italian Baroque style of painting to France. Simon Vouet was born on January 9,1590 in Paris and his father Laurent was a painter in Paris and taught him the rudiments of art. Simons brother Aubin Vouet and his grandson Ludovico Dorigny were also painters, Simon began his painting career as a portrait painter. At a young age he travelled to England and was part of the entourage of the Baron de Sancy, from there he went to Venice and was in Rome in 1614. He spent a period of time in Italy, from 1613 to 1627. He was mostly in Rome where the Baroque style was emerging during these years and he received a pension from the King of France and his patrons included the Barberini family, Cassiano dal Pozzo, Paolo Giordano Orsini and Vincenzo Giustiniani. He also visited other parts of Italy, Venice, Bologna, Genoa, Vouets immense success in Rome led to his election as president of the Accademia di San Luca in 1624. In 1626 he married Virginia da Vezzo who modelled Madonnas for Vouets religious commissions, despite his success in Rome, Vouet suddenly returned to France in 1627, following pressing recommendations from the Duc de Béthunes and a summons from the King. Vouets new style was distinctly Italian, importing the Italian Baroque style into France, in 1632, he worked for Cardinal Richelieu at the Palais-Royal and the Château de Malmaison. In Paris, Vouet was the dominating force in French painting, producing numerous public altarpieces. Vouets other students included Valentin de Boulogne, Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Nicolas Chaperon, Claude Mellan, Vouet was also a friend of Claude Vignon. A number of Vouets decorative schemes have been lost but are recorded in engravings by Claude Mellan,1990, retrospective of Simon Vouets work at the Galeries nationales of the Grand Palais. 2002-2003, Simon Vouet ou léloquence sensible at the Musée des Beaux-Arts de Nantes, 2008-2009, Simon Vouet, les années italiennes, Musée des Beaux-Arts de Nantes, in collaboration with the Musée des Beaux-Arts et darchéologie de Besançon
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Baldassare Croce
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Baldassare Croce was an Italian painter, active during the late-Mannerist period, active mainly in and around Rome. He trained in Bologna, and moved to Rome by 1581, known as a prolific academic painter in Rome, he was named director of the Academy of St. Luke. He painted for the Sala Clementina of the Vatican palace, for the Chapel of San Francesco at the Gesù, San Giovanni in Laterano and he painted six large frescoes along the nave of the church of Santa Susanna, depicting the life of the Susanna from the Old Testament. He worked under Cesare Nebbia and Giovanni Guerra in the decoration of the Scala Santa in San Giovanni in Laterano, in January 1628, he was named Principe of the Accademia di San Luca in Rome. Wornum, ed. Biographical catalogue of the principal Italian painters, london, Woodfall & Kinder, Angel Court
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Giovanni Lanfranco
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Giovanni Lanfranco was an Italian painter of the Baroque period. Giovanni Gaspare Lanfranco was born in Parma, the son of Stefano and Cornelia Lanfranchi. Lanfranco is considered to have contributed to the panel of Polyphemus and Galatea, afterwards, while still technically a member of the Carracci studio of Carracci, Lanfranco, along with Guido Reni and Francesco Albani, frescoed the Herrera Chapel in San Giacomo degli Spagnoli. He also participated in the decoration of San Gregorio Magno. The camerino had been constructed by Cardinal Odoardo Farnese, next to his palace and gardens, of the canvases and frescoes by Domenichino, Girolamo Pulzone, Paul Bril, and Lanfranco, some are conserved in the new church. Among other works, Lanfranco contributed to series, the eccentric Translation of the Magdalen. After the death of Annibale Carracci in 1609, and with the Emilian school of painting out of favor. There, he met Bartolomeo Schedoni and painted the altarpiece for the Ognissanti church, Lanfranco also produced paintings and altarpieces in Orvieto, Vallerano, Leonessa and Fermo. After his return to Rome by 1612, Lanfranco and competed with other Carracci students and assistants—including Reni, Albani, Reni, however, was soon to depart for Naples and then Bologna. During the following decades in Rome, through the 1620s, Lanfranco, unlike Domenichino, Lanfranco was fairly eclectic in terms of style but preferred a visionary, theatrical approach suitable for the ceiling paintings gaining currency in the early 17th century. His Annunciation in San Carlo ai Catinari in regarded as one of his best works, soon, Lanfranco became the pre-eminent painter of circle of Pope Paul V. He painted frescoes for the Palazzo Costaguti and a ceiling fresco in quadratura at the Villa Borghese. In the following year, Lanfranco together with Agostino Tassi and Carlo Saraceni decorated the Sala de Corazzieri and his formal Presentation at the Temple has the sunlit Carraci-like style. In 1622, he painted the Ectasy of Saint Margaret of Cortona as an altarpiece for Santa Maria Nuova in Cortona, the painting could well have inspired the pose in Berninis famous St Theresa in ecstasy. In 1623-1624, he decorated the Sacchetti Chapel in San Giovanni dei Fiorentini in Rome, while Paul Vs successor, Gregory XV, preferred works by Guercino and Domenichino, Lanfranco won commissions for the Crucifix Chapel in Santa Maria in Vallicella. Lanfrancos crowning masterpiece, however, and one of the major church fresco decoration of the late 1620s, was his Assumption of the Virgin frescoed on the dome of SantAndrea della Valle. Completed in 1627 in sotto in su perspective, the array of figures is a landmark in Baroque painting with bright golden coloration. Lanfranco was influenced by Correggios pioneering decoration of the Duomo di Parma, urban VIII commissioned him a large fresco portraying St. Peter Walking on Waters, for which Lanfranco gained the title of Knight of the Order of Christ
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Francesco Mochi
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Francesco Mochi was an Italian early-Baroque sculptor active mostly in Rome and Orvieto. He was born in Montevarchi and died in Rome and he moved to Rome around 1599 and continued his training in the studio of the Venetian-trained sculptor Camillo Mariani. Mochi was a contemporary of Gian Lorenzo Berninis father, Pietro and his first major work was the Annunciation of the Virgin by the Angel, composed of two statues. A fanfare raising sculpture from its slumber, as Rudolph Wittkower called it, it prefigures the baroque with its restrained emotiveness, Mochi was one of the few seventeenth-century sculptors who was also a master bronze-caster. He made two masterly equestrian bronze statues of Ranuccio and Alessandro Farnese in Piazza Cavalli, Piacenza, Ranuccio Farnese, 1612–20, and Alessandro Farnese, 1620–29, are among the high points of his career. He returned from Piacenza to Rome, where he found Bernini fully in charge of major commissions, and his late Roman works are the Christ Receiving Baptism, Taddeus, and Saints Peter and Paul, and Saint Martha for the Barberini family chapel at SantAndrea della Valle. The other three are François Duquesnoys, Berninis, and Andrea Bolgis, of the four, Mochis is the least appropriate to its site and topic, the most idiosyncratic and original. Berninis Longinus is an intermediary between the sober but contorting classicism of Bolgi and Duquesnoy and the dynamism of Mochi. Mochis passionate depiction appears oversteps the decorum of the place, the other statues exude the equanimity of passionate triumphal Catholicism, celebrated here in the center of the mother church. The frantic pitch of the Veronica seems to attempt to storm into the circle of dramatic setpieces, Mochi, in a letter pleading for completion of his payments, remarked that he had laboured con ogni studio in order to stamp his old age with a memorable work. Mochis modern reinterpretation stems in part from interest in him that was renewed by the exhibition Francesco Mochi 1580-16541981 Wittkower, Art and Architecture in Italy, 1600-1750. Biographic entry WGA entry The Vatican, spirit and art of Christian Rome, a book from The Metropolitan Museum of Art Libraries, which contains a good deal of material on Mochi
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Alessandro Turchi
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Alessandro Turchi was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname LOrbetto, Turchi initially trained with Felice Riccio in Verona. By 1603, he was working as independent painter, and in 1606-1609, when Brusasorci died in 1605, Turchi and his fellow painter Pasquale Ottino completed a series of their deceased masters canvases. In 1610, he completed an Assumption altarpiece for the church of San Luca of Verona, in 1612, the Veronese Guild of the Goldsmiths commissioned from Turchi an altarpiece, today lost, of the Madonna and Saints. On leaving the school of Riccio, he went to Venice, in competition with Andrea Sacchi and Pietro da Cortona, he painted some pictures in the church of Santa Maria della Concezione dei Cappuccini. In 1619, he sent an altarpiece of the 40 martyrs for the Chapel of the Innocents in the church of Santo Stefano, Verona, to next to paintings by Pasquale Ottino. He also painted a Flight into Egypt for the church of San Romualdo, Rome, a Holy Family for San Lorenzo in Lucina, and he was much employed on cabinet pictures, representing historical subjects, which he frequently painted on black marble. Among his pupils, Giovanni Ceschini and Giovanni Battista Rossi, practiced in Verona, the former painting copies of his masters works, which were often taken for originals. For the Count Giangiacomo Giusti, in 1620 he paints an Allegory of Fame between Mercury and Pallas Athena and three canvases of Faith, Hope, and Charity. By 1621, he had completed a painting of San Carlo Borromeo, documents from 1629, indicate Turchi was paid 110 scudi for painting St. Anthony of Padua for the Farnese Palace at Caprarola. In 1632, an inventory of the Palazzo Mattei di Giove, records a Saint Marta and Maria Madalena, there is a painting titled Hope by Turchi in the Detroit Institute of Art. In 1623, Turchi married Lucia San Giuliano, in 1637, with the sponsorship of the cardinal Francesco Barberini, he became Principe or director of the Accademia di San Luca. In 1638, he joined the guild of artists, called the Pontifical Academy of Fine Arts. Biography, see Alessandro Turchi 1578-1649 detto lOrbetto, walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons. Alessandro Turchi en Artcyclopedia Alessandro Turchi en la Enciclopedia online del Museo del Prado
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Giovanni Francesco Romanelli
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Giovanni Francesco Romanelli was a major Italian painter of the Baroque period, celebrated for his use of bright, vivid colors and also for his clarity of detail. Many of his works are on display in the Louvre, Romanelli was trained in Rome in the studio of Pietro da Cortona, the leading painter of his day. He was a pupil in the studio of Pietro da Cortona, the leading painter of his day. In 1639 he was elected director of the prestigious Academy of Saint Luke, with the death of Urban VIII and the accession of Innocent X, the Barberini family fell from favour and Romanellis patronage ebbed. He was then summoned to work in Paris by Cardinal Mazarin and he also painted the Salle des Saisons and the Queens Cabinet of the Louvre for Anne of Austria, mother of Louis XIV. In France he was made a knight of the Order of St. Michael by King Louis XIV, romanelli’s pupils included his son Urbano Romanelli and the painter from Visone, Giovanni Monevi. He also painted the The Israelites gathering up Manna, The Finding of Moses, ralph Nicholson Wornum, ed. Biographical catalogue of the principal Italian painters. Woodfall & Kinder, Angel Court, Skinner Street, London, Digitized by Googlebooks from Oxford University copy on Jun 27,2006
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Alessandro Algardi
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Algardi was born in Bologna, where at a young age, he was apprenticed in the studio of Agostino Carracci. However, his aptitude for sculpture led him to work for Giulio Cesare Conventi and his two earliest known works date back to this period, two statues of saints, made of chalk, in the Oratory of Santa Maria della Vita in Bologna. By the age of twenty, Ferdinando I, Duke of Mantua, began commissioning works from him, propelled by the Borghese and Barberini patronage, Gian Lorenzo Bernini and his studio garnered most of the major Roman sculptural commissions. For nearly a decade, Algardi struggled for recognition, in Rome he was aided by friends that included Pietro da Cortona and his fellow Bolognese, Domenichino. His early Roman commissions included terracotta and some marble portrait busts, in the 1630s he worked on the tombs of the Mellini family in the Mellini Chapel in Santa Maria del Popolo. The monument was started in 1640, and mostly completed by 1644, algardis tomb is much less dynamic. The allegorical figures of Magnanimity and Liberality have an impassive, ethereal dignity, some have identified the helmeted figure of Magnanimity with that of Athena and iconic images of Wisdom. Liberality resembles Duquesnoys famous Santa Susanna, but rendered more elegant, the tomb is somberly monotone and lacks the polychromatic excitement that detracts from the elegiac mood of Urban VIIIs tomb. In 1635–38, Pietro Boncompagni commissioned from Algardi a colossal statue of Philip Neri with kneeling angels for Santa Maria in Vallicella, completed in 1640. With the death of the Barberini Pope Urban VIII in 1644 and the accession of the Pamphilj Pope Innocent X, Algardi, on the other hand, was embraced by the new pope and the popes nephew, Camillo Pamphilj. Algardis portraits were prized, and their formal severity contrasts with Berninis more vivacious expression. A large hieratic bronze of Innocent X by Algardi is now to be found in the Capitoline Museums, Algardi was not renowned for his architectural abilities. The casino was a showcase for the Pamphili collection of sculpture, ancient and contemporary, in the villa grounds, Algardi and his studio executed sculpture-encrusted fountains and other garden features, where some of his free-standing sculpture and bas-reliefs remain. In 1650 Algardi met Diego Velázquez, who obtained commissions for his work from Spain, as a consequence there are four chimney-pieces by Algardi in the Royal Palace of Aranjuez, and in the gardens, the figures on the fountain of Neptune are also by him. The Augustinian monastery at Salamanca contains the tomb of the Count and Countess de Monterey, algardis large dramatic marble high-relief panel of Pope Leo and Attila for St Peters Basilica, and reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches, in this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened Attila, surge forward from the center into three dimensions. Only they two see the descending angelic warriors rallying to the defense, while all others in the background reliefs. The subject was apt for a papal state seeking clout, since it depicts the legend when the greatest of the popes Leo, with supernatural aid
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Luigi Primo
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Louis Cousin, in Italy mainly known as Luigi Primo or Luigi Gentile was a Flemish painter of the Baroque period, who was active in Italy for a major part of his career. Working in a style, which combined his Flemish roots with the influence of Italian art, he was known for his portraits. His birthplace was probably the village Breivelde near Ninove in present-day Belgium, a birth before 1606 is also considered possible. He was apprenticed to Gillis Claeissins the younger in Brussels in 1617 and he left the southern Netherlands while still young. According to the 17th-century biographer Joachim von Sandrart Cousin continued his studies in Paris and he was in Rome as early as 1626. Here he would remain for thirty years and he joined the Bentvueghels, the informal association of mainly Dutch and Flemish painters resident in Rome. In the Bentvueghels he was given the nickname Gentile or Gentiel on account of his gentle manners and he was in Rome commonly known by his nickname Gentile. He used also in Italy the surname Primo which is a translation into Italian of his surname which in French means cousin, in Rome he studied the works of the great masters. The first work in Rome that brought him fame was a fresco on the side altar of the Santi Domenico e Sisto church in Rome. It depicts a miracle attributed to Dominic Guzman, then he painted one of four oil paintings in the Saint Catherine chapel in the Basilica di Santa Maria Maggiore. This work increased his reputation and earned him new, well-paid commissions, in 1635 he joined the confraternity of the Church of St. Julian of the Flemings, signing with Ludovicus Cousin, alias Primo, alias Gentile. He was further inducted into the Accademia di San Luca in 1650, the admission criteria of the Accademia were very strict and considered both the artistic merit and personal qualities of the candidate. The selection process consisted of two rounds of voting in order to ensure only the most eminent artists were selected. The seventeenth-century Italian biographer Giovanni Battista Passeri wrote that Cousins passion for women induced him to neglect his work and squander all his money. He traveled to Loreto, where he made a painting for the altar of the church of Santa Margherita, and then to Pesaro. Finally he moved to Venice, where he painted several portraits and he returned to Rome a few years before the death of Pope Innocent X in 1655. He was the first artist who painted a portrait of his successor Alexander VII following his election, after spending more than thirty years in Rome, he returned to Brussels. He became a member of the local Guild of Saint Luke in 1661 and he continued to paint portraits and historical themes, and also made designs for tapestries that were then manufactured by local weavers
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Nicolas Poussin
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Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
