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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), Willem van Mieris and Gerard ter Borch (1617–1681), of whose work Boilly owned an important collection.
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 sitters and prominent contemporaries such as Robespierre. Boilly's portraits strongly characterize the sitters as individuals, and are usually painted in a sober range of colors.
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 for the work, Un trompe-l'œil ("a trick played on the eye"), marked the first use of that term to describe an illusionistic painting. Although art critics derided the painting as a stunt, it caused a popular sensation, and trompe-l'œil entered the language as a name for an entire genre.
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 Beaux Arts in Lille held a large-scale exhibition of Boilly's work during the winter season of 2011–2012.
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 Emilia. In 1635 he joined the Fraglia dei pittori of Padua for two years. He frescoed episodes of the Life of Antenore (1650) for the Villa Selvatico at Battaglia Terme, and in the following years he painted seven panels depicting the Mysteries of the Rosary for the ceiling of San Tommaso Cantauriense's church in Padua. He painted both large historical canvases and small cabinet pieces. Among his pupils in Padua was Giulio Cirello. Moschini identifies Giovanni Battista Pelizzari and Francesco Minorello as pupils.
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 specific figures, or generic types.
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 use of colour.
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 Palazzo Medici-Riccardi. 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. They include the prototypic hagiographic celebration of the Medici family in the center, surrounded by a series of interlocking narratives: allegorical figures (the Cardinal Virtues, the Elements of Nature) and mythological episodes (Neptune and Amphitrita, The Rape of Proserpine, The Triumphal procession of Bacchus, The Death of Adonis, Ceres and Triptolemus).
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 Allegory of the Golden Fleece, a c. 1694 fresco on the ceiling of the Casón del Buen Retiro is one of the possible reasons given for the building having survived when most of the other Buen Retiro palace complex buildings were demolished in the nineteenth century, now it's an annex of the Prado Museum Complex that holds a library for researchers. He also painted part of the frescoes at the Church of Saint Anthony of the Germans and many pictures for the court, private patrons and churches. 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 "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 Thyssen-Bornemisza Museum there is a Judging of Salomon long term loan, belonging to Baroness Carmen Thyssen Private Collection.
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 from Naples; also the frescoes of the Triumph of Judith at San
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 War II, and Christ with the Doctors in the Temple, in the Palazzo Corsini, Rome. In later years, he painted influential frescoes for the Cappella Corsini, the Palazzo Medici-Riccardi and other works.
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 Antonio Boujas, Nunzio Ferraiuoli (Nunzio degli Afflitti), Ansel Fiammingo (il Franceschitto or Francesquitto), Giovanni Battista Lama, Andrea Miglionico, Giuseppe Simonelli, Andrea Vicenti, Andrea Viso, Tommaso Fasano, Tommaso Giaquinto, Domenico di Marino, Pietro di Martino, Pedro de Calabria, Matteo Pacelli, Francisco Tramulles, Nicolo Maria Rossi, Aniello Rossi, and Raimondo de Dominici.
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 Garofalo.
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, reanimating that grand manner of Cortona in a style that would brighten with 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 probably trained by Piero della Francesca in Florence, as his cousin Giorgio Vasari wrote.
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 Piero della Francesca. In 1472 the young artist was painting at Arezzo, and in 1474 at Città di Castello. He presented to Lorenzo de' Medici a work which is likely School of Pan. Janet Ross and her husband Henry discovered the painting in Florence c. 1870 and subsequently sold it to the Kaiser Frederick Museum in Berlin, though it was destroyed there a few days after the end of World War II. The painting's subject is almost the same as that which he also painted on the wall of the Petrucci palace in Siena – the principal figures being Pan himself, Olympus, Echo, a man reclining on the ground, and two listening shepherds.
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). This painting was very influential for the young Raphael, who worked in the same town and sketched some drawings of the "Martyrdom".
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 the aforementioned School of Pan. Signorelli remained healthy until his death, continuing to paint and accept commissions into his final year, including the altarpiece of the Church at Foiano.
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 events of the Apocalypse fill the space which surrounds the entrance into the large chapel.
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, crashing down into an innumerable crowd of men and women.
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 of All Saints and Advent.
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 style, are richly decorated with a great deal of subsidiary work connected with Dante, specifically the first eleven books of his Purgatorio, and with the poets and legends of antiquity. A Pietà composition in a niche in the lower wall contains explicit references to two important Orvietan martyr saints, San Pietro Parenzo and San Faustino.
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 contract directed Signorelli to consult the Masters of the Sacred Page for theological matters. This is the first such recorded instance of an artist receiving theological advice, although art historians believe such discussions were routine. Signorelli's first stay in Orvieto lasted no more than two years. In 1502 he returned to Cortona, later returning to Orvieto to continue the lower walls. He painted a dead Christ, with Mary Magdalene, the Virgin Mary, and the local martyr Saints Pietro Parenzo and Faustino. The figure of the dead Christ, according to Vasari, is the image of Signorelli's son Antonio, who died from the plague during the course of the execution of the paintings.
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 returned to Siena, but mostly lived in his hometown of Cortona. He was constantly at work, but the products of his closing years were not of the quality of his works from 1490 to 1505.
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 stood in great repute as a citizen, entering the magistracy of Cortona as early as 1488 and holding a leading position by 1523, the year of his death.
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 experiments of this kind, trying hypothetical attitudes and combinations. His drawings in the Louvre demonstrate this and bear a close analogy to the method of Michelangelo. He aimed at powerful truth rather than nobility of form; comparatively neglecting color, and his chiaroscuro exhibits sharp oppositions of lights and shadows. He had a vast influence over the painters of his own and of succeeding times, but had no pupils or assistants of high repute; one being a nephew named Francesco.