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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 Palazzo San Giorgio, now lost, and also designed the glasses of the St. Sebastian Chapel in the Cathedral of St. Lawrence.
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 would take weeks over a single foot", according to his biographer Baldinucci. His painstaking technique made him unsuited for large-scale fresco painting. He painted chiefly sacred subjects, and his works are generally small in scale, although he made a few life-size pictures. He often repeated the same composition in several versions, and his daughter, Agnese Dolci, also made copies of his works.
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 tradition that holds each drawn figure under a microscope of academicism. Wittkower describes him as the Florentine counterpart, in terms of devotional imagery, of the Roman Sassoferrato. Pilkington declared his touch "inexpressibly neat ... though he has often been censured for the excessive labour bestowed on his pictures, and for giving his carnations more of the appearance of ivory than the look of flesh", a flaw that had been already apparent in Agnolo Bronzino.
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 Ainolfo de' Bardi, when he was only sixteen. He also painted a large altarpiece (1656) for the church of Sant' Andrea Cennano in Montevarchi. As was typical for Florentine painters, this was a painting about painting, and in it the Virgin of Soriano holds a miraculous and iconic painting of St Dominic.
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 Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta.
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 San Luca, the artists academy in Rome. Sacchi argued that paintings should only have a few figures which should express the narrative whereas Cortona countered that a greater number of figures allowed for the development of sub themes. Maratta's painting at this time was closely allied with the classicism of Sacchi and was far more restrained and composed than the Baroque exuberance of Pietro da Cortona’s paintings. Like Sacchi, his paintings were inspired by the works of the great painters from Parma and Bologna: Annibale Carracci, Guercino, Guido Reni, Francesco Albani, and Giovanni Lanfranco.
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 the Shepherds' (1650) for San Giuseppe di Falegnami. Another major work from this period was 'The Mystery of the Trinity Revealed to St. Augustine' (c. 1655) painted for the church of Santa Maria dei Sette Dolori.
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 movement derived from Roman Baroque painting, combined with classical idealism.
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 the status of artists, promoted the study and drawing of the art of Classical Antiquity. During the 1670s he was commissioned by Pope Clement X to fresco the ceiling of the salone in the Palazzo Altieri; the iconographic programme for The Triumph of Clemency was devised by Bellori. Unlike Giovan Battista Gaulli’s nave fresco in the nearby church of the Gesu which was being painted at the same time, Maratta did not employ illusionism; his scene remained within its frame and used few figures.
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 of the Church (1686) for the Cybo Chapel in Santa Maria del Popolo. It was not, as his critics claimed, numerous depictions of the Virgin that earned him the nickname Carluccio delle Madonne or ‘Little Carlo of the Madonnas', but his gifted interpretation of this theme. Other works included an altarpiece, The Death of St Francis Xavier (1674–79) in the San Francesco Xavier Chapel in the right transept of the Church of the Gesu.
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 sketched antiquities for John Evelyn as early as 1645.
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 run his studio into old age even when he could no longer paint. Maratta died in 1713 in Rome, and was buried there in Santa Maria degli Angeli.
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