1.
Guercino
–
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
Guercino
–
Self portrait, c. 1635
Guercino
–
Caravaggio 's influence is manifest in this canvas Christ and the Woman of Samaria
Guercino
–
Guercino - The Persian Sibyl
Guercino
–
Guercino - The Woman taken in Adultery,
Dulwich Picture Gallery
2.
Federico Zuccari
–
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
Federico Zuccari
–
Self-portrait, after 1588
Federico Zuccari
–
Raising of Lazarus
Federico Zuccari
–
Last Judgment (detail). Dome of
Florence Cathedral.
Federico Zuccari
–
Zuccari's famed sketch of
Queen Elizabeth I.
3.
Girolamo Muziano
–
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
Girolamo Muziano
–
Resurrection of Lazarus, 1556.
Museo dell'Opera del Duomo,
Orvieto
Girolamo Muziano
–
Hercules slaying Nemean Lion – First Labor (1565),
Villa d'Este, Tivoli.
Girolamo Muziano
–
Hercules slaying Lernaean Hydra – Second Labor (1565),
Villa d'Este, Tivoli.
Girolamo Muziano
–
Hercules steals the Apples of the Hesperides – Twelfth Labor (1565),
Villa d'Este, Tivoli.
4.
Saint Luke
–
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
Saint Luke
–
detail of the St. Luke altarpiece by
Andrea Mantegna
Saint Luke
–
Base of a pillar at
Basilica of the Sacred Heart of Jesus,
Puducherry, India
Saint Luke
–
James Tissot, Saint Luke (Saint Luc),
Brooklyn Museum
Saint Luke
–
Luke as depicted in the head-piece of an Armenian Gospel manuscript from 1609 held at the
Bodleian Library
5.
Virgin Mary
–
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
Virgin Mary
–
Our Lady of Vladimir, one of the medieval representations of the
Theotokos
Virgin Mary
–
Virgin and Child with angels and Sts. George and Theodore. Icon from around 600, from
Saint Catherine's Monastery.
Virgin Mary
–
The
Annunciation by
Eustache Le Sueur, an example of 17th-century
Marian art. The
Angel Gabriel announces to Mary her pregnancy with Jesus and offers her
White Lilies.
Virgin Mary
–
The Virgin's first seven steps, mosaic from
Chora Church, c. 12th century
6.
Santi Luca e Martina
–
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
Santi Luca e Martina
–
The church of Santi Luca e Martina with the remains of the Roman Forum
Santi Luca e Martina
–
Facade
7.
Pietro da Cortona
–
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
Pietro da Cortona
–
Self-Portrait
Pietro da Cortona
–
Marcello Sacchetti (sv) by Cortona (1627)
Pietro da Cortona
–
Triumph of
Divine Providence
Pietro da Cortona
–
The
Golden Age by Pietro da Cortona.
8.
Illuminated manuscript
–
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
Illuminated manuscript
–
In the strictest definition of illuminated manuscript, only manuscripts with gold or silver, like this
miniature of
Christ in Majesty from the
Aberdeen Bestiary (folio 4v), would be considered illuminated.
Illuminated manuscript
–
The decoration of this page from a French
Book of Hours, ca.1400, includes a miniature, initials and borders
Illuminated manuscript
–
A 13th-century manuscript illumination, the earliest known depiction of
Thomas Becket 's assassination
Illuminated manuscript
–
The 11th century Tyniec Sacramentary was written with gold on purple background.
9.
Pope Sixtus IV
–
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
Pope Sixtus IV
–
Pope Sixtus IV appoints Platina as Prefect of the Library, by Melozzo da Forlì, accompanied by his relatives
Pope Sixtus IV
–
Posthumous portrait of Pope Sixtus IV by
Titian
Pope Sixtus IV
–
Ponte Sisto, the first bridge built at Rome since the
Roman Empire
Pope Sixtus IV
–
Tomb of Pope Sixtus IV by Antonio del Pollaiolo
10.
Paul V
–
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
Paul V
–
Pope Paul V by
Caravaggio.
Paul V
–
Mosaic depicting the arms of
Pope Paulus V (Camillo Borghese).
Paul V
–
Facade of St Peter's Basilica
Paul V
–
Pope Paul V welcoming the embassy of the Japanese samurai
Hasekura Tsunenaga in
Rome in 1615. Japanese painting, 17th century.
11.
Urban VIII
–
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
Urban VIII
–
A portrait of Pope Urban VIII by
Pietro da Cortona (1627)
Urban VIII
–
Circa 1598 painting of Maffeo Barberini at age 30 by
Caravaggio.
Urban VIII
–
Pope Urban VIII, 1643
Urban VIII
–
Engraving of Pope Urban VIII
12.
Francesco Barberini (seniore)
–
Francesco Barberini was an Italian Catholic Cardinal. The nephew of Pope Urban VIII, he benefited immensely from the nepotism practiced by his uncle and he was given various roles within the Vatican administration but his personal cultural interests, particularly in literature and the arts, meant that he became a highly significant patron. His secretary was the antiquarian Cassiano dal Pozzo who was also a patron of the arts. Francesco was the brother of Cardinal Antonio Barberini and Taddeo Barberini who became Prince of Palestrina. On 2 October the same year, his uncle, Maffeo Barberini, newly elected as Pope Urban VIII, made him a cardinal, state secretary and he held the latter position until 1633. In 1625, he went to Paris as special legate and from March to September, overall, the negotiations were not a political success for the papacy but as a ‘sweetener’ he received a gift of six tapestries from King Louis XIII, designed by Peter Paul Rubens. In 1625 he travelled to Spain as papal legate and this mission was also unsuccessful and he returned to Rome the following year. In 1632 he was appointed papal Vice-Chancellor, here they remained under the protection of Cardinal Mazarin. Two years later, Francesco was pardoned by the pope who restored confiscated properties to him, on his return to Rome, Francesco resumed his role as a patron of arts although on a reduced scale. In 1666 he became Dean of the College of Cardinals, taking part in the conclaves of 1667 and he died in Rome in 1679 at the age of eighty two. Francesco Barberini was active as a patron of the arts both as a patron and within broader spheres. Privately, he bought several paintings by Poussin during the early years in Rome. In 1625, he acquired the Sforza palace on the Quirinal Hill in Rome, Francesco and Urban were on hand to advise on its decoration. Also at the Palazzo Barberini, he initiated a small natural science museum and botanical garden and his collections attested to his interests in ancient sculpture, numismatics, the Libellus de Medicinalibus Indorum Herbis, sometimes referred to as the Codex Barberini, was named in his honour. Cardinal Francesco Barberini contributed financially to churches in Rome, as protector of the Academy of Saint Luke, the artists guild in Rome, he dedicated funds for the construction of the Academys church of Santi Luca e Martina, designed by Cortona. Although initially he made available for the construction of San Carlo alle Quattro Fontane designed by Francesco Borromini. He also commissioned various monuments for church interiors, including ones to G. Aleandro, guglielmi who had been his teachers, in San Lorenzo fuori le Mura and designed by Cortona). Combaluzier, F. Sacres épiscopaux à Rome de 1565 à1662, analyse intégrale du Ms. «Miscellanea XIII, 33» des Archives Vaticanes Sacris Eruduri, XVIII, p.229
Francesco Barberini (seniore)
–
Francesco Barberini in 1624, shortly after his uncle,
Pope Urban VIII, made him a
cardinal.
Francesco Barberini (seniore)
–
Cardinal Francesco Barberini by
Andrea Sacchi
13.
Domenichino
–
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
Domenichino
–
St. John the Evangelist, c. 1621–29
Domenichino
–
Domenichino (Domenico Zampieri) The Way to Calvary
Domenichino
–
Domenico Zampieri, The Adoration of the Shepherds, c. 1607-10, Oil on canvas, 143 x 115cm, National Gallery of Scotland
Domenichino
–
Domenichino - Landscape with Tobias
14.
Bernini
–
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
Bernini
–
Self-portrait of Bernini, c. 1623
Bernini
–
Apollo and Daphne (1622–25)
Bernini
–
Baldacchino in
St. Peter's Basilica
Bernini
–
Bust of Cardinal Armand de Richelieu (1640–41)
15.
Andrea Sacchi
–
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
Andrea Sacchi
–
Portrait by
Maratta.
Andrea Sacchi
–
Allegory of Divine Wisdom
Andrea Sacchi
–
Vision of St. Romuald
Andrea Sacchi
–
The Three Marys
16.
Bamboccianti
–
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
Bamboccianti
–
The Small Limekiln (Landscape with Morra Players) by Pieter van Laer
Bamboccianti
–
A Party of Charlatans in an Italian Landscape by Karel Dujardin, 1657
Bamboccianti
–
Roman Carnival by Jan Miel, 1653
17.
Giovanni Bellori
–
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
Giovanni Bellori
–
Gian Pietro Bellori, portrait by
Carlo Maratta.
18.
Marco Benefial
–
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
Marco Benefial
–
Portrait of painter John Parker
19.
Tommaso Laureti
–
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
Tommaso Laureti
–
Triumph of The Cross fresco, 1585, Sala di Costantino,
Vatican Palace.
Tommaso Laureti
–
Laureti designed the base with its figures for Giambologna's Neptune Fountain,
Bologna.
20.
Giovanni De Vecchi
–
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
Giovanni De Vecchi
–
"Saint Sebastian" (1614); church
Sant'Andrea della Valle, Rome
21.
Cesare Nebbia
–
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
Cesare Nebbia
–
Arch Angel Michael appearing at
Monte Gargano in a Cesare Nebbia ceiling painting in the Vatican
Gallery of Maps.
22.
Durante Alberti
–
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
Durante Alberti
–
"The Transfiguration", in the church
Il Gesù, Rome
23.
Flaminio Vacca
–
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
Flaminio Vacca
–
Vacca's Lion,
Loggia dei Lanzi, Florence
Flaminio Vacca
–
Chapel of the Sacramento with a
marble tabernacle sculpted by Flaminio Vacca (1587) in the church of San Lorenzo;
Spello, Italy
24.
Pietro Bernini
–
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
Pietro Bernini
–
Saint Martin Dividing his Cloak,
Certosa di San Martino, Naples
Pietro Bernini
–
Flora by Pietro Bernini, 1616
25.
Gaspare Celio
–
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
Gaspare Celio
–
Battle Scene, Borghese Gallery, Rome.
26.
Cherubino Alberti
–
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
Cherubino Alberti
–
Portrait of Cherubini Alberti by Carlo Lasinio (1759-1838)
Cherubino Alberti
–
Giove bacia Ganimede by Cherubino Alberti, after a work by
Polidoro di Caravaggio.
27.
Ottavio Leoni
–
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
Ottavio Leoni
–
Ottavio Leoni, self-portrayed in this 1625 engraving.
Ottavio Leoni
–
Caravaggio drawing by Ottavio Leoni around 1621
Ottavio Leoni
–
Dutch Caravaggisti
28.
Giovanni Baglione
–
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
Giovanni Baglione
–
Engraving by
Ottavio Leoni, 1625
Giovanni Baglione
–
Drawing of Saint Catherine, Carried up to Heaven by Angels, c. 1625
Giovanni Baglione
–
Giovanni Baglione, Sacred Love and Profane Love, 1602. Oil on canvas, 240 x 143 cm. Rome,
Galleria Nazionale d'Arte Antica di
Palazzo Barberini.
Giovanni Baglione
–
Michelangelo Merisi da Caravaggio,
Amor Vincit Omnia, ca 1602. Oil on canvas, 156.5 x 113.3 cm.
Gemäldegalerie, Berlin.
29.
Gian Lorenzo Bernini
–
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
Gian Lorenzo Bernini
–
Self-portrait of Bernini, c. 1623
Gian Lorenzo Bernini
–
Apollo and Daphne (1622–25)
Gian Lorenzo Bernini
–
Baldacchino in
St. Peter's Basilica
Gian Lorenzo Bernini
–
Bust of Cardinal Armand de Richelieu (1640–41)
30.
Agostino Ciampelli
–
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
Agostino Ciampelli
–
Madonna of the Rosary, by Agostino Ciampelli
Agostino Ciampelli
–
Annunciation, by Agostino Ciampelli
