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Style and works |
Boilly's early works showed a preference for amorous and moralising subjects. The Suitor's Gift is comparable to much of his work in the 1790s. His small-scale paintings with carefully mannered colouring and precise detailing recalled the work of seventeenth-century Dutch genre painters such as Gabriël Metsu (1629–1667... |
After 1794, Boilly began to produce far more crowded compositions that serve as social chronicles of the urban middle class. In these works, his observation of contemporary customs is slightly sentimental and often humorous. |
Boilly was also well respected for his portraiture. By the end of his lifetime he had painted about 5,000 portraits, most of which were painted on canvases measuring 22 cm x 17 cm (8 5/8 in. x 6 5/8 in.). He worked quickly, and boasted of requiring only two hours to complete a portrait. He painted both middle class sit... |
Boilly used his great skill in depicting textures to produce numerous illusionistic works, including paintings in grisaille that mimic prints. In the Salon of 1800 he exhibited a painting that depicted layers of overlapping prints, drawings, and papers, covered by a sheet of broken glass in a wooden frame. His title fo... |
His interest in caricature is most apparent in his suite of 98 lithographs titled Recueil de grimaces, published between 1823 and 1828. |
Boilly remains a highly regarded master of oil painting. A major exhibition of his work, The Art of Louis-Léopold Boilly: Modern Life in Napoleonic France, travelled to the United States where it was shown at both the Kimbell Art Museum in Fort Worth and the National Gallery of Art in Washington (1995). The Musée des B... |
Selected works |
References |
Further reading |
Siegfried, Susan L. (1995). The Art of Louis-Léopold Boilly: Modern Life in Napoleonic France. New Haven, CO; London: Yale University Press. ISBN 0-300-06669-4. OCLC 317783615. |
Romanticism & the school of nature : nineteenth-century drawings and paintings from the Karen B. Cohen collection by Colta Feller Ives (The Metropolitan Museum of Art, 2000) |
External links |
Biography and links to many works {World Wide Art Resources}. Careful: all kinds of pop-ups and dead links here. |
The Art of Louis-Léopold Boilly {Book Review} |
"Boilly, Louis Léopold" . New International Encyclopedia. 1905. |
Luca Ferrari (February 17, 1605 – February 8, 1654) was an Italian painter of the Baroque period. |
Biography |
Also called Luca da Reggio. He was reputedly initially a trainee of Alessandro Tiarini. Moschini identifies him as a pupil of Guido Reni. He later worked with Leonello Spada, Alessandro Tiarini, and Carlo Bononi in the 1610 - 1620s were decorating the basilica of the Madonna della Ghiara in his native city of Reggio Em... |
References |
Web Gallery of Art. |
short biography. |
Luca Giordano (18 October 1634 – 3 January 1705) was an Italian late-Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples, Rome, Florence, and Venice, before spending a decade in Spain. |
Early life and training |
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 and his early work was heavily influenced by his teacher. Like Ribera, he painted many half-length figures of philosophers, either imaginary portraits of speci... |
He acquired the nickname Luca fa presto, which translates into "Luca paints quickly." His speed, in design as well as handiwork, and his versatility, which enabled him to imitate other painters deceptively, earned for him two other epithets, "The Thunderbolt" (Fulmine) and "The Proteus" of painting. |
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 lively complex schemes, the "grand manner", of Pietro da Cortona. He is also noted for his lively and showy us... |
Florence |
In 1682–1683 Giordano painted various fresco series in Florence, including one in the dome of the Corsini Chapel of Santa Maria del Carmine, Florence. In the large block occupied by the former Medici palace, he painted the ceiling of the Biblioteca Riccardiana (Allegory of Divine Wisdom) and the long gallery of the Pal... |
Court painter in Spain (1692–1702) |
In 1692 Giordano went to Spain at the invitation of Charles II. He stayed there for ten years, returning to Naples in 1702, following Charles' death. While in Spain, he painted major decorative schemes at the Buen Retiro Palace, El Escorial, the sacristry of Toledo Cathedral and the Royal Palace of Aranjuez. The Alleg... |
Giordano was popular at the Spanish court, and the king granted him the title of "caballero". His works can be seen all around Madrid, and the Museo del Prado houses a large compilation of his works. Not far from there, the Real Academia de Bellas Artes de San Fernando owns several of his works and in the neighboring T... |
Late work in Naples |
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 an astonishing facility, which often lead to an impression of superficiality of his works. He left many works in Rome, and far more in Naples. Of the latter, his Christ expelling the Traders from the Temple in the church of the Padri Girolamini, a colossal work, full of expressive "lazzaroni" or beggars fr... |
Martino[1], and those in the Tesoro della Certosa, including the subject of Moses and the Brazen Serpent; and the cupola paintings in the Church of Santa Brigida. This church contains the artist's own tomb. Other notable examples are the Judgment of Paris formerly in the Gemäldegalerie, Berlin, but destroyed in World W... |
Giordano died in Naples in 1705. Sources differ as to whether he died on 3 January or 12 January 1705. |
Influence |
His best pupils in painting were Paolo de Matteis and Nicola Malinconico. However, his influence, like his travels and career, were broad and prolific. For example, he is said to have influenced in Venice, Sebastiano Ricci, Giovan Battista Langetti, Giovanni Coli, and Filippo Gherardi. Other pupils included Juan Antoni... |
As a young man, Giordano engraved works with considerable skill, including some of his own paintings, such as the Slaughter of the Priests of Baal. He also painted much on the crystal borderings of looking-glasses, cabinets and others seen in many Italian palaces, and was, in this form of art, the master of Pietro Garo... |
Critical reputation |
Giordano has been criticized as being a prolific trader of all styles, and master of none. Michael Levey remarks of him "Giordano was the ideal rococo painter, speedy, prolific, dazzling in colour, assured in draughtsmanship, ever-talented and never touching the fringe of genius." He has been viewed as a proto-Tiepolo,... |
Gallery |
See also Category:Paintings by Luca Giordano. |
References |
Additional sources |
Painting in Naples 1606-1705: From Caravaggio to Giordano. Catalogue of an exhibition held at the Royal Academy, London. London: Royal Academy. 1982. |
De Dominici, Bernardo (1729). Francesco Ricciardo (ed.). Vita del Cavaliere D. Luca Giordano, pittore napoletano'. Francesco RIcciardo, Naples. p. 1. |
Encyclopædia Britannica 2004 Ultimate Reference Suite DVD |
O. Ferrari - G. Scavizzi, Luca Giordano, Napoli, varie edizioni (1966, 1992, 2000) |
M.Horak, Importanti opera di Luca Giordano a Piacenza, in "Strenna Piacentina 2011" - Amici dell'Arte, Piacenza 2011 |
G. Scavizzi - G. De Vito, Luca Giordano giovane 1650-1664, Napoli, 2012 |
M. Horak, Luca Giordano: la grande pala in Santa Teresa, in "Panorama Musei", anno XVII, n. 1, 2012 |
External links |
60 artworks by or after Luca Giordano at the Art UK site |
Scholarly articles in English about Luca Giordano both in web and PDF – the Spanish Old Masters Gallery |
Luca Giordano at Artcyclopedia |
Work of the month – Erminia and the Shepherds – Ducal House of Medinaceli Foundation |
Jusepe de Ribera, 1591–1652, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Luca Giordano (see index) |
Luca Signorelli (c. 1441/1445 – 16 October 1523) was an Italian Renaissance painter from Cortona, in Tuscany, who was noted in particular for his ability as a draftsman and his use of foreshortening. His massive frescos of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece. |
In his early 40s he returned to live in Cortona, after working in Florence, Siena and Rome (1478–84, painting a now lost section of the Sistine Chapel). With an established reputation, he remained based in Cortona for the rest of his life, but often travelled to the cities of the region to fulfill commissions. He was... |
Cortona will host a major exhibition in 2023 to celebrate the 500th anniversary of his death. |
Biography |
He was born Luca d'Egidio di Ventura in Cortona, Tuscany (some sources call him Luca da Cortona). The precise date of his birth is uncertain, but birth dates between 1441 and 1445 have been proposed. He died in 1523 in his native Cortona, where he is buried. |
His first impressions of art seem to originate in Perugia – including the styles of artists such as Benedetto Bonfigli, Fiorenzo di Lorenzo and Pinturicchio. Lazzaro Vasari, the great-grandfather of art historian Giorgio Vasari, was Luca's maternal uncle. According to Giorgio Vasari, Lazzaro had Luca apprenticed to Pie... |
Signorelli worked in central Italy, leading a very requested workshop, increasing his importance during the 1490s. He often returned to his native Cortona, and worked in nearby Umbria, especially in Città di Castello, where he left one of his masterpieces: the Martyrdome of St Sebastian (still in the umbrian town). Thi... |
In 1498, Signorelli moved to the Monastery of Monte Oliveto Maggiore south of Siena, where he painted eight frescoes, forming part of a vast series depicting the life of St. Benedict; they are at present much injured. In the palace of Pandolfo Petrucci he worked on various classic or mythological subjects, including th... |
Work in Orvieto |
From the Monastery of Monte Oliveto Maggiore near Siena, Signorelli went to Orvieto and produced his masterpiece, the frescoes in the chapel of S. Brizio (then called the Cappella Nuova), in the cathedral. |
The Cappella Nuova already contained two groups of images in the vaulting over the altar, the Judging Christ and the Prophets, murals initially begun by Fra Angelico fifty years prior. The works of Signorelli in the vaults and on the upper walls represent the events surrounding the Apocalypse and the Last Judgment. The... |
The Apocalyptic events begin with the Preaching of Antichrist, and proceed to the Doomsday and The Resurrection of the Flesh. They occupy three vast lunettes, each of them a single continuous narrative composition. In one of them, the Antichrist, after his portents and impious glories, falls headlong from the sky, cras... |
The events of the Last Judgment fill the facing vault and the walls around the altar. The series is composed of Paradise, the Elect and the Condemned, Hell, the Resurrection of the Dead, and the Destruction of the Reprobate. |
To Angelico's ceiling, which contained the Judging Christ and the Prophets led by John the Baptist, Signorelli added the Madonna leading the Apostles, the Patriarchs, Doctors of the Church, Martyrs, and Virgins. The unifying factor of the paintings is found in the scripture readings in the Roman liturgies for the Feast... |
Stylistically, the daring and terrible inventions, with their powerful treatment of the nude and arduous foreshortenings, were striking in their day. Michelangelo is claimed to have borrowed, in his own fresco at the Sistine Chapel wall, some of Signorelli's figures or combinations. The lower walls, in an unprecedented... |
The contract for Signorelli's work is still on record in the archives of the Cathedral of Orvieto. He undertook the task of completing the ceiling on April 5, 1499 for 200 ducats, as well as 600 ducats for the walls, along with lodging, and a monthly payment of two measures of wine and two quarters of corn. The contrac... |
Work in Siena, Cortona, Rome, and Arezzo |
After finishing the frescoes at Orvieto, Signorelli was often in Siena. In 1507 he executed a great altarpiece for S. Medardo at Arcevia in the Marche, the Madonna and Child, with the Massacre of the Innocents and other episodes. |
In 1508 Pope Julius II summoned artists to Rome, including Signorelli, Perugino, Pinturicchio and Il Sodoma to paint the large rooms in the Vatican Palace. They began work, but soon the Pope dismissed all to make way for Raphael. Their work was taken down, except for the ceiling in the Stanza della Segnatura. Luca retu... |
In 1520 Signorelli went with one of his pictures to Arezzo. He was partially paralyzed when he began a fresco of the Baptism of Christ in the chapel of Cardinal Passerini's palace near Cortona, which is the last picture attributed to him (alternatively, a Coronation of the Virgin at Foiano della Chiana). Signorelli sto... |
Signorelli paid great attention to anatomy. It is said that he carried on his studies in burial grounds, and his mastery of the human form implies a familiarity resulting from dissections. He surpassed contemporaries in showing the structure and mechanism of the nude in immediate action, even going beyond nature in exp... |
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