1.
Avellino
–
Avellino listen is a town and comune, capital of the province of Avellino in the Campania region of southern Italy. It is situated in a surrounded by mountains 50 kilometres northeast of Naples and is an important hub on the road from Salerno to Benevento. Before the Roman conquest, the ancient Abellinum was a centre of the Samnite Hirpini, located on the Civita hill some 4 kilometres outside the current town, the city could correspond to the ancient Velecha, documented by coins found in the area. Abellinum was conquered by the Romans in 293 BC, changing several times in the following centuries. However, the edification of a true Roman town occurred only after the conquest by Lucius Cornelius Sulla in 89 BC, the town was Christianized around 500 AD, becoming an episcopal seat. There followed the invasions of the Goths and Vandals, after the Lombard conquest of southern Italy, the ancient city was abandoned, and a new settlement grew on the Terra hill, corresponding to the modern Avellino. Defended by a castle, it part of the Duchy of Benevento and, after the latters fall. In 1100, during the Norman rule of southern Italy, it was acquired by Riccardo dellAquila, later, King Charles I of Anjou assigned it to the Montfort family, who were succeeded by the Del Balzo and the Filangieri. The feudal rights to Avellino were purchased in 1581 by Don Marino I Caracciolo, duke of Atripalda, of a family of Naples. Avellino became the seat of the Caracciolo. Don Marino’s son and grandson were consecutively Grand Chancellor of the Kingdom of Naples, the grandson, Don Marino II, was the patron of Giambattista Basile, author of the Pentamerone. In 1820 Avellino was seat of revolutionary riots, however, the Unification of Italy some fifty years later did not bring any benefit to the city, being cut off from the main railway line Naples-Benevento-Foggia, and far from the sea as well. In 1943 the city was bombed by Allied planes in an attempt to cut off the retreat of German panzer units over the important Bridge of Ferriera. Avellino has suffered from seismic activity throughout its history and was hard by the earthquakes of 23 November 1980 and 14 February 1981. The 1980 Irpinia earthquake represented a turning point for the town, large amounts of money flowed in for infrastructure investment, and the extra money generated innovation and economic expansion more generally. By 2008 a per capita income level of €20,180 placed Avellino well above the regional average in terms of individual prosperity. Nevertheless, tobacco, viticulture and, especially the production of hazelnuts remain important to the economy and, with increased investment in recent years. Many small and medium-sized businesses are located in the zones, including notably FMA who produce engines for Fiat, Opel, Lancia and Alfa Romeo
Avellino
–
Corso Vittorio Emanuele
Avellino
–
Fountain of Bellerophon.
2.
Naples
–
Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC
Naples
–
Naples Napoli
Naples
–
Ancient map of the Bay of Naples area from Vatican Museum
Naples
–
A scene featuring the
siren Parthenope, the mythological founder of Naples.
Naples
–
The
Gothic Battle of Mons Lactarius on
Vesuvius, painted by
Alexander Zick.
3.
Italy
–
Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
–
The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
–
The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
–
Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
4.
Giacomo del Po
–
Giacomo del Pó was an Italian painter of the Baroque. He was born in Palermo, the son of Pietro del Po and he first trained under his father, but afterwards by Nicolas Poussin. He was admitted to the Roman Accademia di San Luca and he was chiefly occupied in decorating the mansions of the Neapolitan nobility with emblematical and allegorical subjects. Rome possesses only two of his pictures, one in the church of SantAngelo in Pescheria, and the other in Santa Marta al Collegio Romano and he also worked in Naples, where he painted frescoes for the Palatine chapel in the Royal Palace. He collaborated with Francesco di Maria and Francesco de Mura, in the frescoes for the Palazzo Carafa and he painted frescoes in the gallery of the Marquis of Genzano. He also painted frescoes in the Milano Chapel of San Domenico Maggiore and he painted canvases for Church of Santa Maria di Sette Dolori and Santa Teresa degli Scalzi. He also painted in the Basilica of San Antonio and the cathedral in Sorrento and he painted frescoes in the Belvedere palace in Vienna for Eugene of Savoy. He died in Naples in 1726
Giacomo del Po
–
Giacomo del Po, detail of ceiling painting for the Obere Belvedere, Vienna.
5.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
6.
Baroque
–
The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
Baroque
–
The Triumph of the Immaculate by
Paolo de Matteis
Baroque
–
The Church of
Sant'Andrea al Quirinale, designed by
Gian Lorenzo Bernini
Baroque
–
Brooch of an African,
Walters Art Museum
Baroque
–
Aeneas Flees Burning Troy,
Federico Barocci, 1598
7.
Pope Benedict XIII
–
Pope Benedict XIII, born Pietro Francesco Orsini, was Pope from 29 May 1724 to his death in 1730. He took the name of Vincenzo Maria Orsini, OP, when he became a Dominican friar, in the process towards sainthood, his cause for canonization opened in 1755, but it was soon closed. It was re-opened on 21 February 1931, but it was closed again in 1940. It was opened once more on 17 January 2004, with the official process commencing in 2012 and he now has the posthumous title of Servant of God. He was born in Gravina in Puglia to Ferdinando III Orsini, duke of Gravina and he also had a brother, Domenico. He was a member of the Orsini of Rome, the third and he entered the Dominican Order and received the name of Vincenzo Maria. He was named, by Pope Clement X, the Cardinal-Priest of San Sisto on 22 February 1672, later he was bishop of Manfredonia, bishop of Cesena and he remained a close friend of a local mystic, Serafina di Dio. Upon the death of Pope Innocent XIII in 1724, a conclave was convoked to elect a successor, there were four divisions in the College of Cardinals and there were no clear candidates. At the conclave, Orsini was considered one of the papabile, Orsini was then proposed to be elected because he led a modest, austere life, considered to be a pastor. Orsini refused to be elected prior to the ballot, explaining that he was unworthy of it. After three hours of persuasion, he surrendered to the will of the cardinals and on 29 May 1724 and he chose the regnal name of Benedict XIII in honour of Pope Blessed Benedict XI because he was also of the Dominican Order. On 4 June 1724, he was crowned by Benedetto Pamphili, on the following 24 September, he took possession of the Basilica of St. John Lateran. At first, he called himself Benedict XIV, but afterwards altered the title to Benedict XIII, the new pope caused considerable embarrassment to his aides by his constant affinity for adding personal touches to official ceremonies. For example, he prostrated himself at the door of St. Peters Basilica to kiss the floor, the cortège of cardinals had no idea whether they should do the same or stand until the pope rose. The crowd behind, who thought he had collapsed, pushed and pressed to get a view, causing many accidents. Another instance was when he refused to be carried in the Sedia gestatoria, a man not of wordly matters, he endeavoured to put a stop to the decadent lifestyles of the Italian priesthood and of the cardinalate. He also abolished the lottery in Rome, a man fond above all of asceticism and religious celebrations, according to Cardinal Lambertini he did not have any idea about how to rule. According to Montesquieu, All the money of Rome go to Benevento. as the Beneventani direct weakness, Benedict XIII beatified Bernardine of Feltre in 1728 and also beatified Peter Fourier on 20 January 1730
Pope Benedict XIII
–
Servant of God, Pope Benedict XIII
Pope Benedict XIII
–
Icon of Benedict XIII in the Basilica of St. Paul outside the Walls.
Pope Benedict XIII
–
The tomb of Benedict XIII.
Pope Benedict XIII
–
State of Benedict XIII in
Palermo.
8.
Diana and Endymion
–
Diana and Endymion is a painting by Francesco Solimena undertaken from 1705 until 1710. The painting depicts the Roman goddess Diana, one of the twelve Gods and Goddesses of Olympus, the story tells of Dianas love for the beautiful youth Endymion. The painting is hosted at the National Museums Liverpool, that purchased the painting in 1966, the painter Francesco Solimena came from an artistic family, his father being the poet and painter Angelo Solimena. The young Francesco was very talented from an age in arts. Cardinal Vincenzo Orsini, who later became Pope Benedict XIII, was the person who discovered Francesco Solimenas talent, in Greek mythology, the moon goddess, Selene, drives her moon chariot across the heavens, although she was also regarded as the personification of the moon itself. Selene is best known for her affair with the beautiful mortal Endymion, the shepherd who used to sleep on a mountain. The late 7th-century – early 6th-century BC poet Sappho had apparently already mentioned Selene, in Roman mythology, Diana has the attributes of Selene and she was mentioned as the goddess who falls in love with Endymion. Both goddesses were regarded as goddesses, except for the fact that in Roman mythology. The painting was part of the rivalry with the painter Paolo de Matteis. Diana in Greek mythology is the associated with hunting, the moon and chastity, often depicted while hunting, or bathing after the hunt. Solimena chose to paint Dianas unrequited love towards the young and handsome shepherd, Endymion used to go to sleep on the mountaintop where he guarded his sheep. Diana was falling in love with his beauty, but her love remained unfulfilled and she is depicted here as a huntress wearing a short robe, arriving from the sky, seated on clouds, in a chariot drawn by horses, while Endymions body is depicted naked. Cupid points an arrow towards her, ready to shoot, Diana has her gaze fixed on the sleeping youths body, with a mixture of desire and despair. According to the legend Diana used to come and kiss Endymion when he was asleep on the top of the mountain each night, Dianas light touch partly drew Endymion from his slumber and he caught a brief glance of her. Incredulous at her beauty, he attributed it to a dream, through her love, Endymion was granted eternal youth and timeless beauty
Diana and Endymion
–
Diana and Endymion
9.
Angelo Solimena
–
Angelo Solimena was an Italian painter, father of the better known Francesco Solimena. Solimena was a pupil of Francesco Guarino, one of his earliest paintings is the Pentecost, dated 1654, in San Michele in Solofra, the town in which Guarnino also worked. Solimena later worked in Nocera Inferiore, where he painted a Deposition in the church of San Matteo in 1664, and Gravina, in 1674-5 he painted a series of frescoes in the church of San Giorgio in Salerno, and visited Naples at around the same time. He worked in collaboration with his son, Francesco, on the Vision of St Cyril of Alexandria at the church of San Domenico in Solofra and he later worked at Sarno, where he painted the vaults and other pictures at the cathedral
Angelo Solimena
–
Vergine col Bambino tra San Matteo e San Pietro (particolare)
10.
Nocera Inferiore
–
Nocera Inferiore is a city and comune in Campania, Italy, in the province of Salerno, at the foot of Monte Albino,20 km east-south-east of Naples by rail. Nuceria minted its own money, its coins bearing the head of the god, and developed its own alphabet called nucerino. It maintained its allegiance to Rome until 309 BC when it joined the revolted Samnites, in 308 BC it repulsed a Roman attempt to land at the mouth of the Sarnus, but in 307 BC it was besieged and surrendered. It obtained favourable terms, and remained faithful to Rome even after Cannae, hannibal reduced it in 216 BC by starvation, and destroyed the town. The inhabitants returned when peace was restored, in 73 BC it was plundered by Spartacus. At an early date the city became a see, and in the 12th century it sided with Innocent II against Roger of Sicily. In the 13th century, and long after, the town had the name of Nocera de Pagani because a colony of Muslim Saracens was introduced by Frederick II, the town was described as a genuine Muhammadan town with all its characteristic mosques and minarets. It is said that, through their darker complexion and features, notably, while the towns name was changed from Nocera de Pagani to Nocera Inferiore, a nearby town, Nuceria Christianorum, was renamed Nocera Superiore. But in 1239 Frederick II decided to expel the Muslim population of Nocera, a small colony of Saracens was actually introduced in the town around the 9th century. By the end of the 15th century, until 1806 had the epithet, today there is the town of Pagani, which lies about one 1.5 km to the west. In 1385 Pope Urban VI was besieged in the castle by Charles III of Naples, helena, the widow of Manfred of Sicily, was imprisoned in the Castle and died here after the battle of Benevento. Here also Urban VI imprisoned the cardinals who favoured the antipope Clement VII, the castle also had as guests the writers Dante Alighieri and Boccaccio. About three kilometers to the east, near the village of Nocera Superiore, is the church of Santa Maria Maggiore. Its chief feature is its dome, ceiled with stone internally and it is supported by 40 ancient columns, and in its construction resembles Santo Stefano Rotondo in Rome. The walls are covered with frescoes from the 14th century and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed. Diocese of Nocera Inferiore-Sarno Alphabet of Nuceria A. S. G, nocerina History of Islam in southern Italy Saracinesco Ciciliano Media related to Nocera Inferiore at Wikimedia Commons Official Website
Nocera Inferiore
–
Nocera Inferiore
Nocera Inferiore
–
Cathedral-Basilica of Priscus of Nocera
Nocera Inferiore
–
Cathedral bell tower, made by
Francesco Solimena
11.
Solofra
–
Solofra is a town and comune in the province of Avellino, in the Campania region of southern Italy. In 2010 its population was 12,313, the town is bordered by Aiello del Sabato, Calvanico, Contrada, Montoro Superiore and Serino. Its frazioni are the villages of SantAgata Irpina and SantAndrea Apostolo, the Collegiata di San Michele Arcangelo was built in the 16th-17th centuries. And has rich decoration with canvases by the Guarino family. Solofra is one of Italys most famous towns for the tanning of leather, there are more than 200 tanneries in the town. The tanning methods in Solofra are considered some of the best in Italy, media related to Solofra at Wikimedia Commons Solofra official website Local Police of Solofra Historical site about Solofra
Solofra
–
Interior of Collegiata
12.
Luca Giordano
–
Luca Giordano was an Italian late Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples and Rome, Florence and Venice, born in Naples, Giordano was the son of the painter Antonio Giordano. In around 1650 he was apprenticed to Ribera on the recommendation of the viceroy of Naples, like Ribera, he painted many half-length figures of philosophers, either imaginary portraits of specific figures, or generic types. He acquired the nickname Luca fa presto, which translates into Luca paints quickly, following a period studying in Rome, Parma and Venice, Giordano developed an elaborate Baroque style fusing Venetian and Roman Influences. His mature work combines the ornamental pomp of Paul Veronese with the complex schemes. He is also noted for his lively and showy use of colour, in 1682–1683 Giordano painted various fresco series in Florence, including one in the dome of Corsini Chapel of the Chiesa del Carmine. In the large block occupied by the former Medici palace, he painted the ceiling of the Biblioteca Riccardiana, the vast frescoes of the latter are contained in the 1670s gallery addition, overlooking the gardens. The planning was overseen by Alessandro Segni and commissioned by Francesco Riccardi and they include the prototypic hagiographic celebration of the Medici family in the center, surrounded by a series of interlocking narratives, allegorical figures and mythological episodes. In 1692 Giordano went to Spain at the invitation of Charles II and he stayed there for ten years, returning to Naples in 1702, following Charles death. While in Spain, he painted decorative schemes at the Buen Retiro Palace, El Escorial, the sacristry of Toledo Cathedral. He also painted pictures for the court, private patrons. His pupils, Aniello Rossi and Matteo Pacelli, assisted him in Spain, Giordano was popular at the Spanish court, and the king granted him the title of a caballero. After his return to Naples early in 1702, Giordano continued to paint prolifically, executed in a lighter, less rhetorical style, these late works, prefiguring Rococo, proved influential throughout the eighteenth century, and were admired by Fragonard. He spent large sums in acts of munificence, and was particularly liberal to poorer artists, one of his maxims was that the good painter is the one whom the public like, and that the public are attracted more by colour than by design. Giordano had a facility, which often lead to an impression of superficiality of his works. He left many works in Rome, and far more in Naples and this church contains the artists own tomb. Other notable examples are the Judgment of Paris in the Berlin Museum, in later years, he painted influential frescoes for the Cappella Corsini, the Palazzo Medici-Riccardi and other works. Giordano died in Naples in 1705 and his best pupil in painting was Paolo de Matteis
Luca Giordano
–
Self-Portrait
Luca Giordano
–
Luca Giordano
Luca Giordano
–
Venus and Mars
Luca Giordano
–
Demokrit, 1690,
Hamburger Kunsthalle
13.
Giovanni Lanfranco
–
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
Giovanni Lanfranco
–
Giovanni Lanfranco, Resurrection, 1622
Giovanni Lanfranco
–
Annunciation, between 1610 and 1630 (
Hermitage Museum)
Giovanni Lanfranco
–
Council of the Gods
Giovanni Lanfranco
–
Frescoed Cupula of Sant'Andrea della Valle.
14.
Mattia Preti
–
Mattia Preti was an Italian Baroque artist who worked in Italy and Malta. He was also a member of the Order of Saint John, born in the small town of Taverna in Calabria, Preti was called Il Cavalier Calabrese after he was accepted into the Order of St. John in 1660. His early apprenticeship is said to have been with the Caravaggist Giovanni Battista Caracciolo, in Rome, he painted fresco cycles in the churches of SantAndrea della Valle and San Carlo ai Catinari. Between 1644 and 1646, he may have spent time in Venice, during most of 1653-1660, he worked in Naples, where he was influenced by another major painter of his era, Luca Giordano. One of Pretis masterpieces were a series of frescoes, ex-votos of the plague. Two sketches are in the Capodimonte Museum in Naples, the bozzetto of the Virgin with the baby Jesus looming over the dying and their burial parties envisions a Last Judgement presided over by a woman. Preti also won a commission to supervise the construction, carving, having been made a Knight of Grace in the Order of St John, he visited the order’s headquarters in Malta in 1659 and spent most of the remainder of his life there. Preti transformed the interior of St. Johns Co-Cathedral in Valletta, with a series of paintings on the life. In Malta one also can find paintings of Preti in private collections. His increased reputation led to a circle of patrons. Preti was fortunate to enjoy a career and have a considerable artistic output. His paintings, representative of the exuberant late Baroque style, are held by many museums, including important collections in Naples, Valletta. Mattia Preti e Gregorio Preti a Taverna
Mattia Preti
–
Il Cavalier Calabrese
Mattia Preti
–
Representation of the
Saint George
Mattia Preti
–
The Wedding at Cana,
National Gallery, London
Mattia Preti
–
The Martyrdom of St. Bartholomew, painted in Naples around 1650 by Mattia Preti. In the early 19th century, King Francis of the Two Sicilies made a gift of the picture to the Saint Joseph Proto-Cathedral in Bardstown, Kentucky, where it remains to this day.
15.
Chiaroscuro
–
Chiaroscuro is an oil painting technique, developed during the Renaissance, that uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. The underlying principle is that solidity of form is best achieved by the light falling against it, artists known for developing the technique include Leonardo da Vinci, Caravaggio, and Rembrandt. It is a mainstay of black and white photography and these in turn drew on traditions in illuminated manuscripts going back to late Roman Imperial manuscripts on purple-dyed vellum. Such works used to be called chiaroscuro drawings, but are often described in modern museum terminology by such formulae as pen on prepared paper. Chiaroscuro woodcuts began as imitations of this technique, when discussing Italian art, the term sometimes is used to mean painted images in monochrome or two colours, more generally known in English by the French equivalent, grisaille. The term broadened in meaning early on to cover all strong contrasts in illumination between light and dark areas in art, which is now the primary meaning. The invention of these effects in the West, skiagraphia or shadow-painting to the Ancient Greeks, traditionally was ascribed to the famous Athenian painter of the fifth century BC, Apollodoros. Chose her place to sit for that purpose in the alley of a goodly garden. In drawings and prints, modelling chiaroscuro often is achieved by the use of hatching, washes, stipple or dotting effects, and surface tone in printmaking are other techniques. Chiaroscuro woodcuts are old master prints in woodcut using two or more blocks printed in different colours, they do not necessarily feature strong contrasts of light and they were first produced to achieve similar effects to chiaroscuro drawings. Other printmakers to use the technique include Hans Wechtlin, Hans Baldung Grien, in Germany the technique achieved its greatest popularity around 1520, but it was used in Italy throughout the sixteenth century. Later artists such as Goltzius sometimes made use of it, in most German two-block prints, the keyblock was printed in black and the tone block or blocks had flat areas of colour. In Italy, chiaroscuro woodcuts were produced without keyblocks to achieve a different effect. Manuscript illumination was, as in areas, especially experimental in attempting ambitious lighting effects since the results were not for public display. The development of compositional chiaroscuro received an impetus in northern Europe from the vision of the Nativity of Jesus of Saint Bridget of Sweden. Hugo van der Goes and his followers painted many scenes lit only by candle or the light from the infant Christ. As with some later painters, in their hands the effect was of stillness, strong chiaroscuro became a popular effect during the sixteenth century in Mannerism and Baroque art. Divine light continued to illuminate, often rather inadequately, the compositions of Tintoretto, Veronese, tenebrism was especially practiced in Spain and the Spanish-ruled Kingdom of Naples, by Jusepe de Ribera and his followers
Chiaroscuro
–
Giovanni Baglione. Sacred and Profane Love. 1602–1603, showing dramatic compositional chiaroscuro
Chiaroscuro
–
Detail of "
La Fornarina " by
Raphael, shows delicate modelling chiaroscuro in the body of the model, for example in the shoulder, breast, and arm on the right
Chiaroscuro
–
Chiaroscuro woodcut of the Virgin and Child by
Bartolommeo Coriolano, created between 1630 and 1655 (digitally restored)
Chiaroscuro
–
Nativity at Night by
Geertgen tot Sint Jans, c. 1490, after a composition by
Hugo van der Goes of c. 1470; sources of light are the infant Jesus, the shepherds' fire on the hill behind, and the angel who appears to them
16.
State Hermitage Museum
–
The State Hermitage Museum is a museum of art and culture in Saint Petersburg, Russia. One of the largest and oldest museums in the world, it was founded in 1754 by Catherine the Great and has open to the public since 1852. Its collections, of only a small part is on permanent display. The collections occupy a complex of six historic buildings along Palace Embankment, including the Winter Palace. Apart from them, the Menshikov Palace, Museum of Porcelain, Storage Facility at Staraya Derevnya, the museum has several exhibition centers abroad. The Hermitage is a state property. Since July 1992, the director of the museum has been Mikhail Piotrovsky, of the six buildings in the main museum complex, five, namely the Winter Palace, Small Hermitage, Old Hermitage, New Hermitage and Hermitage Theatre, are open to the public. The entrance ticket for foreign tourists more than the fee paid by citizens of Russia. However, entrance is free of charge the first Thursday of every month for all visitors, the museum is closed on Mondays. The entrance for visitors is located in the Winter Palace. A hermitage is the dwelling of a hermit or recluse, the word derives from Old French hermit, ermit hermit, recluse, from Late Latin eremita, from Greek eremites, literally people who live alone, which is in turn derived from ἐρημός, desert. Originally, the building housing the collection was the Small Hermitage. Today, the Hermitage Museum encompasses many buildings on the Palace Embankment, apart from the Small Hermitage, the museum now also includes the Old Hermitage, the New Hermitage, the Hermitage Theatre, and the Winter Palace, the former main residence of the Russian tsars. In recent years, the Hermitage has expanded to the General Staff Building on the Palace Square facing the Winter Palace, the Western European Art collection includes European paintings, sculpture, and applied art from the 13th to the 20th centuries. It is displayed, in about 120 rooms, on the first, drawings and prints are displayed in temporary exhibitions. Since 1940, the Egyptian collection, dating back to 1852 and it serves as a passage to the exhibition of Classical Antiquities. A modest collection of the culture of Ancient Mesopotamia, including a number of Assyrian reliefs from Babylon, Dur-Sharrukin, the collection of Classical Antiquities occupies most of the ground floor of the Old and New Hermitage buildings. Its floor is made of a marble mosaic imitating ancient tradition, while the stucco walls
State Hermitage Museum
–
Winter Palace
State Hermitage Museum
–
The Hermitage Museum complex. From left to right: Hermitage Theatre – Old Hermitage – Small Hermitage – Winter Palace (the "New Hermitage" is situated behind the Old Hermitage).
State Hermitage Museum
–
Egyptian Hall
State Hermitage Museum
–
The Pavilion Hall
17.
Academy
–
An academy is an institution of secondary education, higher learning, research, or honorary membership. The name traces back to Platos school of philosophy, founded approximately 385 BC at Akademia, a sanctuary of Athena, the site of Akademia was sacred to Athena and other immortals. Platos immediate successors as scholarch of Akademia were Speusippus, Xenocrates, Polemon, Crates, later scholarchs include Lacydes of Cyrene, Carneades, Clitomachus, and Philo of Larissa. Other notable members of Akademia include Aristotle, Heraclides Ponticus, Eudoxus of Cnidus, Philip of Opus, Crantor, however, there cannot have actually been any geographical, institutional, economic or personal continuity with the original Academy in the new organizational entity. The emperor Justinian closed the school in AD529, a date that is cited as the end of Antiquity. After a peace treaty between the Persian and the Byzantine empire in 532 guaranteed their personal security, some members found sanctuary in the stronghold of Harran. One of the last leading figures of this group was Simplicius, a pupil of Damascius and it has been speculated that Akademia did not altogether disappear. After his exile, Simplicius, may have travelled to Harran, from there, the students of an Academy-in-exile could have survived into the 9th century, long enough to facilitate the Arabic revival of the Neoplatonist commentary tradition in Baghdad. With the Neoplatonist revival that accompanied the revival of humanist studies, Cosimo had been inspired by the arrival at the otherwise ineffective Council of Florence of Gemistos Plethon, who seemed a dazzling figure to the Florentine intellectuals. In 1462 Cosimo gave Ficino a villa at Careggi for the Academys use, situated where Cosimo could see it from his own villa, the academy remained a wholly informal group, but one which had a great influence on Renaissance Neo-Platonism. The Vatican Library was not coordinated until 1475 and was never catalogued or widely accessible and his valuable Greek as well as Latin library was at the disposal of the academicians. Bessarion, in the years of his life, retired from Rome to Ravenna. He was a worshipper not merely of the literary and artistic form, but also of the ideas and spirit of classic paganism, which made him appear a condemner of Christianity, in his academy every member assumed a classical name. The prisoners begged so earnestly for mercy, and with such protestations of repentance, in Naples, the Quattrocento academy founded by Alfonso of Aragon and guided by Antonio Beccadelli was the Porticus Antoniana, later known as the Accademia Pontaniana, after Giovanni Pontano. The 16th century saw at Rome a great increase of literary and aesthetic academies, more or less inspired by the Renaissance, all of which assumed, as was the fashion, odd and fantastic names. We learn from various sources the names of such institutes, as a rule, they soon perished. In the 1520s came the Accademia degl Intronati, for the encouragement of theatrical representations, there were also the Academy of the Vignaiuoli, or Vinegrowers, and the Accademia della Virtù, founded by Claudio Tolomei under the patronage of Cardinal Ippolito de Medici. These were followed by a new academy in the Orti or Farnese gardens, there were also the academies of the Intrepidi, the Animosi, and the Illuminati, this last, founded by the Marchesa Isabella Aldobrandini Pallavicino
Academy
–
The School of Athens, fresco by
Raphael (1509–1510), of an idealized Academy.
Academy
–
The modern
Academy of Athens, next to the
University of Athens and the National Library forming 'the Trilogy', designed by
Schinkel's Danish pupil
Theofil Hansen, 1885, in
Greek Ionic, academically correct even to the polychrome sculpture.
18.
Francesco de Mura
–
Francesco de Mura was an Italian painter of the late-Baroque period, active mainly in Naples and Turin. His late work reflects the style of neoclassicism, Francesco de Mura was a pupil of Francesco Solimena, then later with Domenico Viola, where he met his contemporary, Mattia Preti. While still in his teens he painted frescoes in San Nicola alla Carità in Naples and he painted ten canvases of the Virtues and an Adoration of the Magi for the church of Santa Maria Donnaromita. His other works include frescoes of the Adoration of the Magi in the dome of the church of the Nunziatella. Hobbes, James R. Picture collectors manual, Dictionary of Painters, T. & W. Boone,29 Bond Street, London, Digitized by Googlebooks from Oxford library. Aurora and Tithonus, prince of Troy, media related to Francesco de Mura at Wikimedia Commons
Francesco de Mura
–
Allegory of the power of love,
Royal Castle in
Warsaw
19.
Giuseppe Bonito
–
Giuseppe Bonito was a Neapolitan painter of the Rococo period. Giuseppe Bonito is known for genre depictions on canvas, many of Gaspare Traversis paintings had previously been attributed to Bonito. Bonito was born at Castellammare di Stabia, and, like Traversi, was a student at the studio of Francesco Solimena. One of his contemporaries there was Gaspare Traversi, Bonito represented urban scenes with folklore details and figures of commedia dellarte. Between the 1736 and 1742 Bonito worked for the House of Borbon in the royal Palace of Portici and he also painted portraits including one of Maria Amalia of Saxony, wife of the Charles VII, king of Naples and Charles III of Spain. An altarpiece of the Immaculate Conception was painted in 1789 for the chapel of Royal Palace of Caserta, one of his pupils was Angelo Mozzillo. Museum Network, legend for Bowes Museum piece
Giuseppe Bonito
–
Family Portrait
Giuseppe Bonito
–
Carnival
Giuseppe Bonito
–
Concertino
Giuseppe Bonito
–
Charles VII
20.
Onofrio Avellino
–
Onofrio Avellino was an Italian painter of the Baroque period. Born in Naples, Giulio died in Ferrara or Rome, where he painted for the last twenty years of his life. He initially trained under Luca Giordano, but in 1692, when the left to work in Madrid. He painted a Virgin and Child, with Angels and Saints in Glory for the church of the Carmelitani in Sorrento, for a church of Vico, he painted a canvas of St Ciro and Giovanni and the Virgin. He painted two canvases, one of a Miracle of St Dominic and the Apparition of the Virgin to the Shepherdess, for the church of Rosariello delle Pigne and he also made copies of Giordano and Solimena for export. His elder sibling was, reputedly, Giulio Giacinto Avellino, also a painter, by 1718, he had transferred to Rome, where he was influenced by Carlo Maratta. The frescoes on the vault of San Francesco di Paola ai Monti in Rome are by Onofrio and he painted an altarpiece on the San Alberto heals the sick for the church of Santa Maria in Montesanto. Vite dei Pittori, Scultori, ed Architetti Napoletani, Tomo Quarto, dalla Tipografia Trani, Naples, Digitized by Googlebooks. Fellowes, Ludgate St, London, et al, Digitized by Googlebooks, May 19,2006
Onofrio Avellino
–
The Holy Family
21.
Gaspare Traversi
–
Gaspare Traversi was an Italian Rococo painter best known for his genre works. Active mostly in his city of Naples, he also painted throughout Italy. Gaspare appears to have born to a Genoese merchant living in Naples. He appears to have been baptized on February 15,1722 and he was a contemporary of other Solimena pupils, Giuseppe Bonito, also a genre painter, and Francesco de Mura. He was active mainly between 1732–1769, Traversi can be described as a Neapolitan Hogarth, Steen or Longhi, working in a Caravaggist style. Traversis satirical paintings typically depict animated groups of bourgeois protagonists that seem compressed physically into an indoor space that can barely contain them. Even his religious canvases have foreshortened crowding, facial expressions are lively and varied, some of the characters, often children, stare at the viewer. Women are often situated in either a foolish or ironic situation, or engage in a pulchritudinous talent, although he had no pupils, his influence was significant, and can be seen in the works of Lorenzo de Caro, Giuseppe Bonito and Orazio Solimena. Traversi was a focus of a monograph by Roberto Longhi, francis P. Smyth and John P. ONeill. National Gallery of Art, Washington DC, ed, the Age of Correggio and the Carracci, Emilian Painting of the 16th and 17th Centuries. Art and Architecture in Italy, 1600-1750, Naples Exhibition in 2005 was titled Gaspare Traversi. Napolitans of the 1700s between Misery and Nobility Stuttgart Exhibition, Gaspare Traversi Amusement in the Shade Parma Exhibition, Luminary of the 1700s, Gaspare Traversi and his painting in Emilia
Gaspare Traversi
–
Self-portrait
Gaspare Traversi
–
Fortune-teller & Pickpocket
Gaspare Traversi
–
Surgeon inspects Wound
Gaspare Traversi
–
The Concert
22.
Corrado Giaquinto
–
Corrado Giaquinto was an Italian Rococo painter. As a boy he apprenticed with a modest local painter Saverio Porta, Giaquinto followed a peripatetic career, with long sojourns in Naples, Rome, Turin, and Madrid. In 1723, he moved to Rome to work in the studio of Sebastiano Conca and he painted in San Lorenzo in Damaso, San Giovanni Calibita, and the ceiling at Santa Croce in Gerusalemme. In March 1727, with Giuseppe Rossi as an assistant, Giaquinto opened an independent studio near the Ponte Sisto, in 1734, he married Caterina Silvestri Agate. The first documented work by his hand is Christ crucified with the Madonna, Saint John Evangelist, the latest restoration confirms Giaquintos stylistic independence from Solimena, and reveals his stylistic dependence on Luca Giordano. In 1733, the architect and artistic director for the House of Savoy, Filippo Juvarra, invited Giaquinto to come to Turin, where he painted an altarpiece of Saint John Nepomuk. He then decorated the ceiling of a Villa della Regina with a Triumph of the House of Savoy, Death of Adonis and Apollo & Daphne, Giaquinto returned briefly to Rome in 1735, where his wife died soon after childbirth. A report of 1742 states that Pope Benedict XIV was taken to the church of San Giovanni Calabita, where he observed with much pleasure the restoration of that Church embellished with altarpieces from the Painter Signor Corrado Napolitano. In Madrid, he was patronized by Ferdinand VI, and was appointed director of the Academy of San Fernando. His influence there was felt by such as González Velázquez, José del Castillo. His paintings include A Kneeling Male Nude and he returned to Naples in 1762 to decorate the sacristy in San Luigi di Palazzo, the royal monastery. He died in Naples in 1765 and he is described by some as an Italian François Boucher. Pelican History of Art, Art and Architecture Italy, 1600–1750, la pintura italiana del siglo XVIII en España. Italian Wikipedia entry Works of Corrado Giaquinto at www. Corrado-Giaquinto. org Works of Corrado Giaquinto at http, //www. the-athenaeum. org
Corrado Giaquinto
–
Farinelli as painted by Giaquinto
Corrado Giaquinto
–
Allegory of Peace and Justice
Corrado Giaquinto
–
Saint-Esprit
Corrado Giaquinto
–
Corrado Giaquinto, Triumph of Galatea, circa 1752
23.
Sebastiano Conca
–
Sebastiano Conca was an Italian painter. He was born at Gaeta, then part of the Kingdom of Naples, in 1706, along with his brother Giovanni, who acted as his assistant, he settled in Rome, where for several years he worked only in chalk, to improve his drawing. He was patronized by the Cardinal Ottoboni, who introduced him to Clement XI and he also painted an Assunta for the church of Santi Luca e Martina in Rome. Conca was knighted by the pope and he collaborated with Carlo Maratta in the Coronation of Santa Cecilia in the namesake church of Santa Cecilia in Trastevere. In 1718 He was elected to the Accademia di San Luca and he was also elected Principe in 1739-1741. His painting was influenced by the Baroque painter Luca Giordano. Sebastianos brother, Giovanni Conca, painted the altarpiece of the Madonna of the Rosary and St Dominic for the church of San Domenico. He received widespread acclaim and patronage. He worked for a period of time for the Savoy family in Turin on the Oratory of San Filippo and Santa Teresa, in the Venaria, for Basilica di Superga and he painted the frescoes of Probatica, in the Ospedale di Santa Maria della Scala of Siena. In Genoa, he painted the large canvases of the Palazzo Lomellini-Doria. In 1739, he published a guide to painting, Ammonimenti and he returned to Naples in 1752, and enjoyed the royal patronage of Charles III. He painted till late in life, the landscape is often a billowing cloud. Even in an intimate scene such as Rinaldo & Armida. Similarly, the introspection of the moment recounted by Christ at the Garden of Gesthmane is afflicted with a cascade of angels. It is an mannerist Baroque, not its distilled apotheosis, but an elaboration from its roots in Carracci. This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Conca. Media related to Sebastiano Conca at Wikimedia Commons
Sebastiano Conca
–
Sebastiano Conca The Holy Family with the Infant Saint John the Baptist, oil on canvas.
24.
Allan Ramsay (artist)
–
Allan Ramsay was a prominent Scottish portrait-painter. Allan Ramsay was born in Edinburgh, Scotland, the eldest son of Allan Ramsay, poet and he later moved to London, where he was employed by the Duke of Bridgewater. His pleasant manners and varied culture, not less than his artistic skill and his only serious competitor was Thomas Hudson, with whom he shared a drapery painter, Joseph van Aken. In 1739 he married his first wife, Anne Bayne, the daughter of Alexander Bayne of Rires, Anne died on 4 February 1743, giving birth to their 3rd child, none of their children reached adulthood. One of his pupils was Margaret Lindsay, eldest daughter of Sir Alexander Lindsay of Evelick. He later eloped with her and on 1 March 1752 they married in the Canongate Kirk, Edinburgh, Ramsay already had to maintain a daughter from his previous marriage and his two surviving sisters, but told Sir Alexander that he could provide Margaret with an annual income of £100. Three children survived from their long and happy marriage, Amelia, Charlotte, Ramsay and his new wife spent 1754 to 1757 together in Italy, going to Rome, Florence, Naples and Tivoli, researching, painting and drawing old masters, antiquities and archaeological sites. He earned income painting Grand Tourists portraits and this and other trips to Italy involved more literary and antiquarian research than art. After their return, Ramsay in 1761 was appointed to succeed John Shackelton as Principal Painter in Ordinary to George III and he gave up painting in about 1770 to concentrate on literary pursuits. His health was shattered by a dislocation of the right arm. With unflinching pertinacity, he struggled until he had completed a likeness of the king upon which he was engaged at the time and he left a series of 50 royal portraits to be completed by his assistant Reinagle. For several years he lingered in the south, his constitution finally broken and he died at Dover on 10 August 1784. The portrait of his wife shows the influence of French art. The large collection of his sketches in the possession of the Royal Scottish Academy, Ramsay has paintings in the collection of a few British institutions including the National Gallery in London, Sheffield, Derby Art Gallery, Glasgow Museum and Newstead Abbey. Valdes suggests that copies of paintings were sent to the colonies to be used by abolitionists as a de facto support for their cause. Most historians question whether the 13th-century ancestor, referred to in various places as a Moor and Berber, was black African. In any event, they contend that the connection, nine and 15 generations removed, was too distant to consider Charlotte black in any cultural way, as her other ancestors were all European
Allan Ramsay (artist)
–
Allan Ramsay, self-portrait, c.1737–9 (
National Portrait Gallery)
Allan Ramsay (artist)
–
Ramsay's first wife, Anne Bayne, by Ramsay
Allan Ramsay (artist)
–
Ramsay's second wife
Margaret Lindsay, by Ramsay
Allan Ramsay (artist)
–
Portrait of
George III, circa 1762
25.
San Paolo Maggiore
–
San Paolo Maggiore is a basilica church in Naples, southern Italy, and the burial place of Gaetano Thiene, known as Saint Cajetan, founder of the Order of Clerics Regular. It is located on Piazza Gaetano, about 1-2 blocks north of Via dei Tribunali, the Baroque style church is located on the site of the 1st-century temple of the Dioscuri. The church was built upon the ruins of that temple, the church occupied the area behind the temples pronaos. The front section of the latter, including six columns and triangular tympanum, was visible until 1688, the current church includes two corinthian columns from the ancient edifice. They stand awkwardly in front, linked by a fragile beam projecting from the facade, the church erected here in the 8th-9th century was dedicated to St. Paul to celebrate a victory in 574 of the Duchy of Naples against pillaging Saracens. In 1538, the building was ceded to St Cajetan and his order of Theatines, Cajetan had been in Naples for six years working on building his order. The Theatine priest and architect Francesco Grimaldi designed the adjacent house for the order, in the early 1580s, general reconstruction of the church began with the erection of the transept and the polygonal apse. This was followed by the built by Gian Battista Cavagni. The aisles, designed by Giovan Giacomo di Conforto date from 1625 onwards, as the building was proceeding, it was decorated and embellished, notably by Massimo Stanzione who painted the nave ceiling with a series of canvases depicting events in the life of St Paul. The church was damaged by an Allied bombing in 1943. The interior is on the Latin cross plan, the nave has remains of Stanziones frescoes depicting Histories of Sts. Other frescoes by Francesco Solimena can be seen in the sacristy, in the nave there is also a statue of the Guardian Angel by Domenico Antonio Vaccaro. Notable, especially for their decorations, are the Chapels of Firrao di SantAgata. The main altar was sculpted in 1775-1776 to a design by Ferdinando Fuga, the cloister was built during the Theatine reconstruction of the late 16th century, occupying the former pagan temple. The vestibule uses columns taken from the former Palaeo-Christian church, the cloister itself has a plan with, in its center. The frescoes on the walls, one of which was attributed to Aniello Falcone, have disappeared, architettura barocca e rococò a Napoli. Documenti sulla chiesa napoletana di S. Paolo Maggiore, scritti di Storia dellarte in onore di Raffaello Causa
San Paolo Maggiore
–
Façade.
San Paolo Maggiore
–
Interior.
San Paolo Maggiore
–
Detail of a Corinthian column
San Paolo Maggiore
–
Detail of the main exterior staircase
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