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See also |
Paintings in the Contarelli Chapel |
References |
Citations |
Primary sources |
The main primary sources for Caravaggio's life are: |
Giulio Mancini's comments on Caravaggio in Considerazioni sulla pittura, c. 1617–1621 |
Giovanni Baglione's Le vite de' pittori, 1642 |
Giovanni Pietro Bellori's Le Vite de' pittori, scultori et architetti moderni, 1672 |
All have been reprinted in Howard Hibbard's Caravaggio and in the appendices to Catherine Puglisi's Caravaggio. |
Secondary sources |
External links |
Articles and essays |
Caravaggio, The Prince of the Night |
Christiansen, Keith. "Caravaggio...and his Followers." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2003) |
FBI Art Theft Notice for Caravaggio's Nativity |
The Passion of Caravaggio |
Deconstructing Caravaggio and Velázquez |
Interview with Peter Robb, author of M |
Compare Rembrandt with Caravaggio. |
Caravaggio and the Camera Obscura |
Caravaggio's incisions by Ramon van de Werken |
Caravaggio's use of the Camera Obscura: Lapucci |
Some notes on Caravaggio – Patrick Swift |
Roberta Lapucci's website and most of her publications on Caravaggio as freely downloadable PDF |
Art works |
caravaggio-foundation.org 175 works by Caravaggio |
caravaggio.org Analysis of 100 important Caravaggio works |
Caravaggio, Michelangelo Merisi da Caravaggio WebMuseum, Paris webpage |
Caravaggio's EyeGate Gallery |
Video |
Caravaggio's Calling of Saint Matthew Archived 23 October 2014 at the Wayback Machine at Smarthistory, accessed 13 February 2013 |
Caravaggio's Crucifixion of Saint Peter Archived 8 October 2014 at the Wayback Machine, accessed 13 February 2013 |
Caravaggio's Death of the Virgin Archived 1 November 2014 at the Wayback Machine, accessed 13 February 2013 |
Caravaggio's Narcissus at the Source Archived 1 November 2014 at the Wayback Machine, accessed 13 February 2013 |
Caravaggio's paintings in the Contarelli Chapel, San Luigi dei Francesi, accessed 13 February 2013 |
Caravaggio's Supper at Emmaus Archived 11 October 2014 at the Wayback Machine, accessed 13 February 2013 |
Carlo Braccesco was an Italian Renaissance painter, documented in Liguria from 1478 to 1501. |
His first known work is a Madonna and Saints at Imperia, signed CAROLUS MEDIOLANENSIS ("Carlo from Milan"), dating to 1478. From c. 1480 is a fresco of the Incoronation of the Virgin in the convent of Santa Maria di Castello in Genoa. From 1481 to 1482 he was in the latter city, where he frescoed the façade of the Pala... |
Fragments exist of a Maestà and of a polyptych of St. Andrew in Levanto (1493–1495). His most famous work is a triptych of the Annunciation (c. 1500), colloquially entitled as “Angel Coming in Hot”, which now in the Louvre at Paris, although its attribution has been disputed. |
Sources |
Longhi, Roberto (1942). Carlo Braccesco. Milan.{{cite book}}: CS1 maint: location missing publisher (link) |
Carlo (or Carlino) Dolci (25 May 1616 – 17 January 1686) was an Italian Baroque painter, active mainly in Florence, known for highly finished religious pictures, often repeated in many versions. |
Biography |
He was born in Florence, on his mother's side the grandson of a painter. He was precocious and apprenticed at a young age to Jacopo Vignali, and when only eleven years of age he attempted a whole figure of St John, and a head of the infant Christ, which received some approbation. However Dolci was not prolific. "He wou... |
After attempting the whole figure of St John, and the head of the infant Christ, he painted a portrait of his mother, displaying a new and delicate style which brought him into notice. This procured him extensive employment at Florence (from which city he hardly ever moved) and in other parts of Italy. |
Dolci was known for his piety. It is said that every year during Passion Week he painted a half-figure of the Savior wearing the Crown of Thorns. In 1682, when he saw Giordano, nicknamed "fa presto" (quick worker), paint more in five hours than he could have completed in months, he fell into a depression. |
Dolci's daughter, Agnese (died circa 1680), was also a painter. Dolci died in Florence in 1686. |
Works |
The grand manner, vigorous coloration or luminosity, and dynamic emotion of the Bolognese-Roman Baroque are foreign to Dolci and to Baroque Florence. While he fits into a long tradition of prestigious official Florentine painting, Dolci appears constitutionally blind to the new aesthetic, shackled by the Florentine tra... |
Among his best works are a St Sebastian; the Four Evangelists at Florence; Christ Breaking the Bread; the St Cecilia at the Organ; an Adoration of the Magi in the National Gallery, London; the St Catherine Reading and St Andrew praying before his Crucifixion (1646) in the Palazzo Pitti. He completed his portrait of Fra... |
Gallery |
Footnotes |
Media related to Carlo Dolci at Wikimedia Commons |
References |
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books, Pelican History of Art. pp. 345–46. |
Attribution: |
This article incorporates text from a publication now in the public domain: Rossetti, William Michael (1911). "Dolci, Carlo". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 8 (11th ed.). Cambridge University Press. p. 386. |
External links |
Hunt, Leigh Harrison (1909). "Carlo Dolci" . Catholic Encyclopedia. Vol. 5. |
Christ Blessing the Bread., engraved by William Ensom for The Easter Gift, 1832 with a poetical illustration by Letitia Elizabeth Landon. |
The Magdalen., engraved by S. Sangster for The Easter Gift, 1832 with a poetical illustration by Letitia Elizabeth Landon. |
Infant Christ with Flowers., engraved by S. Sangster for The Easter Gift, 1832 with a poetical illustration by Letitia Elizabeth Landon. |
Carlo Maratta or Maratti (15 May 1625 – 15 December 1713) was an Italian Baroque painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of... |
Biography |
Born in Camerano (Marche), then part of the Papal States, Maratta went to Rome in 1636, accompanied by, Don Corintio Benicampi, secretary to Taddeo Barberini. He became an apprentice in the studio of Andrea Sacchi. It was at this time that the debate between Sacchi and Pietro da Cortona took place at the Accademia di S... |
He developed a close relationship with Sacchi till the death of his master in 1661. His fresco of 'Constantine ordering the Destruction of Pagan Idols' (1648) for the Baptistery of the Lateran, based on designs by Sacchi, gained him attention as an artist but his first prominent independent work was the 'Adoration of ... |
Pope Alexander VII (reigned 1655–1667) commissioned many paintings from him including The Visitation (1656) for Santa Maria della Pace and the Nativity in the gallery of the Quirinal Palace where he worked under the direction of Cortona who selected him for this task. His pictures of the late 1650s exhibit light and ... |
From 1660, he built up a private client base amongst wealthy patrons of Europe, establishing the most prominent art studio in Rome of his time and, after the death of Bernini in 1680, he became the leading artist in Rome. In 1664, Maratta became the director of the Accademia di San Luca and, concerned with elevating ... |
His major works of this period included: The Appearance of the Virgin to St. Philip Neri (c. 1675) now in the Pitti Palace in Florence; The Virgin with Saints Carlo Borromeo and Ignatius of Loyola, and Angels (c. 1685) for the church of Santa Maria in Vallicella (c. 1675); and The Assumption of the Virgin with Doctors... |
Maratta was a well-known portrait painter. He painted Sacchi (c. 1655, Prado), Cardinal Antonio Barberini (c. 1660 Palazzo Barberini), Pope Clement IX (1669, Vatican Pinacoteca) and a self-portrait (c. 1695, Brussels). He also painted numerous English sitters during their visits to Rome on the Grand Tour, having sketch... |
In 1679 or 1680, a daughter, Faustina, was born to Maratta by his mistress, Francesca Gommi (or Gomma). He legally recognized her as his daughter in 1698 and upon becoming a widower in 1700, Maratta married the girl's mother. His daughter's features were incorporated into a number of Maratta's late paintings. |
In 1704, Maratta was knighted by Pope Clement XI. |
With a general decline in patronage around the beginning of the eighteenth century and largely due to the economic downturn, Maratta turned his hand to painting restoration, including works by Raphael and Carracci. His sculptural designs included figures of the Apostles for San Giovanni in Laterano. He continued to ru... |
See also |
List of Carlo Maratta pupils and assistants |
Partial anthology of works |
Birth of the Virgin, 1643–1645, Church of Saint Clare, Nocera Umbra. |
Juno Beseeching Aeolus to Release the Winds Against the Trojan Fleet, 1654–1656, Ackland Art Museum, University of North Carolina at Chapel Hill. |
The Triumph of Clemency, 1673–1675, Palazzo Altieri, Rome. |
The Virgin and Child in Glory, c.1680, Spanish Royal Collection, National Museum, Madrid |
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