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His pupils were Jacobus Buys, Noël Challe, Pieter Tanjé, and his own daughter Sara Troost. He had five daughters and they were all trained in the arts, but only Sara had works engraved by other artists. She married the printer Jacob Ploos van Amstel and another daughter Elisabeth married his brother, the Amsterdam painter Cornelis Ploos van Amstel. |
A famous descendant is Paul Ludwig Troost, a leading architect of Adolf Hitler. |
Public collections |
Among the public collections holding works by Cornelis Troost are: |
Museum de Fundatie in Zwolle, The Netherlands |
Rijksmuseum Amsterdam, The Netherlands |
Mauritshuis, The Hague, The Netherlands |
Museo Municipal de Vigo "Quiñones de León", Spain |
References |
Fuchs, RH; Dutch painting, 1978, Thames and Hudson, London, ISBN 0-500-20167-6 |
External links |
images |
Troost at Web Gallery of Art |
Works and literature on Cornelis Troost at PubHist |
Corrado Giaquinto (8 February 1703 – 18 April 1766) was an Italian Rococo painter. |
Early training and move to Rome |
He was born in Molfetta. As a boy he apprenticed with a modest local painter Saverio Porta, (c. 1667–1725), escaping the religious career his parents had intended for him. By October 1724, he left Molfetta, and along with his contemporaries Francesco de Mura (1696–1784) and Giuseppe Bonito (1707–1789), he trained from 1719 to 1723 in the prolific Neapolitan studio of Francesco Solimena, either with Solimena or his pupil, Nicola Maria Rossi. |
Giaquinto followed a peripatetic career, with long sojourns in Naples, Rome (between 1723 and 1753), Turin (1733 and 1735–39), and Madrid (1753–1761). |
In 1723, he moved to Rome to work in the studio of Sebastiano Conca. 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 the parish of Saint Giovanni of the Malva in Rome. In 1734, he married Caterina Silvestri Agate. |
The first documented work by his hand is Christ crucified with the Madonna, Saint John Evangelist, and Magdalene commissioned in 1730 by King John V of Portugal for the basilica of the Palace of Mafra. |
In 1731, he received a prestigious commission, to execute frescoes in the church of San Nicola dei Lorenesi: Saint Nicholas water gush from cliff, three theologic and cardinal Virtues, and in the cupola Paradise. The latest restoration confirms Giaquinto's stylistic independence from Solimena and reveals his stylistic dependence on Luca Giordano. |
Mature work |
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, and Story of Aenid. Giaquinto returned briefly to Rome in 1735, where his wife died soon after childbirth. He then returned for the next three years, to complete frescoes for the chapel of St Joseph in the church of Santa Teresa in Turin; they depict events in the life and death of Saint Joseph, including his Assumption and Rest in Egypt. |
In 1738 Giaquinto returned to Rome, and during the next year, he executed in fresco an Assumption of the Virgin for the church of Rocca di Papa, a commission for a relative of Pope Alexander VIII Ottoboni. |
In 1740, Giaquinto became a member of the Academy of Saint Luke and donated his sketch of Immaculate Conception with Elias the prophet for the Turinese church of the Carmine, a canvas commissioned by Marquis Giuseppe Turinetti di Priero, which finally reached Turin in 1741. 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 of Spain, and was ultimately appointed director of the Academy of San Fernando. His influence there was felt by painters such as Antonio González Velázquez, José del Castillo, Mariano Salvador Maella, and Francisco Goya. |
His paintings include A Kneeling Male Nude. He returned to Naples in 1762 to decorate the sacristy in San Luigi di Palazzo, the royal monastery. He died in Naples in 1766. |
Among his pupils in Molfetta was Niccoló Porta. |
Gallery |
References |
Sources |
Wittkower, Rudolf (1993). "14". Pelican History of Art, Art and Architecture Italy, 1600–1750. 1980. Penguin Books Ltd. p. 465. |
Urrea, Jesús (1977). La pintura italiana del siglo XVIII en España. Universidad de Valladolid. |
Italian Wikipedia entry |
External links |
Works of Corrado Giaquinto at www.Corrado-Giaquinto.org |
Works of Corrado Giaquinto at http://www.the-athenaeum.org |
Antonio Allegri da Correggio (August 1489 – 5 March 1534), usually known as just Correggio (, also UK: , US: , Italian: [korˈreddʒo]) was an Italian Renaissance painter who was the foremost painter of the Parma school of the High Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro. |
Early life |
Antonio Allegri was born in Correggio, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise little is known about Correggio's early life or training. It is, however, often assumed that he had his first artistic education from his father's brother, the painter Lorenzo Allegri. |
In 1503–1505, he was apprenticed to Francesco Bianchi Ferrara in Modena, where he probably became familiar with the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and Mantegna. In 1514, he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio, where, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the Dresden Gemäldegalerie). |
One of his sons, Pomponio Allegri, became an undistinguished painter. Both father and son occasionally referred to themselves using the Latinized form of the family name, Laeti. |
Works in Parma |
By 1516, Correggio was in Parma, where he spent most of the remainder of his career. Here, he befriended Michelangelo Anselmi, a prominent Mannerist painter. In 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. From this period are the Madonna and Child with the Young Saint John, Christ Leaving His Mother and the lost Madonna of Albinea. |
Correggio's first major commission (February–September 1519) was the ceiling decoration of a private chamber of the mother-superior (abbess Giovanna Piacenza) of the convent of St. Paul in Parma, now known as Camera di San Paolo. Here he painted an arbor pierced by oculi opening to glimpses of playful cherubs. Below the oculi are lunettes with images of statues in feigned monochromic marble. The fireplace is frescoed with an image of Diana. The iconography of the scheme is complex, combining images of classical marbles with whimsical colorful bambini. |
He then painted the illusionistic Vision of St. John on Patmos (1520–21) for the dome of the church of San Giovanni Evangelista. Three years later he decorated the dome of the Cathedral of Parma with a startling Assumption of the Virgin, crowded with layers of receding figures in Melozzo's perspective (sotto in su, from down to up). These two works represented a highly novel illusionistic sotto in su treatment of dome decoration that would exert a profound influence upon future fresco artists, from Carlo Cignani in his fresco Assumption of the Virgin, in the cathedral church of Forlì, to Gaudenzio Ferrari in his frescoes for the cupola of Santa Maria dei Miracoli in Saronno, to Pordenone in his now-lost fresco from Treviso, and to the baroque elaborations of Lanfranco and Baciccio in Roman churches. The massing of spectators in a vortex, creating both narrative and decoration, the illusionistic obliteration of the architectural roof-plane, and the thrusting perspective toward divine infinity, were devices without precedent, and which depended on the extrapolation of the mechanics of perspective. The recession and movement implied by the figures presage the dynamism that would characterize Baroque painting. |
Other masterpieces include The Lamentation and The Martyrdom of Four Saints, both at the Galleria Nazionale of Parma. The Lamentation is haunted by a lambency rarely seen in Italian painting prior to this time. The Martyrdom is also remarkable for resembling later Baroque compositions such as Bernini's Truth and Ercole Ferrata's Death of Saint Agnes, showing a gleeful saint entering martyrdom. |
Mythological series |
Aside from his religious output, Correggio conceived a now-famous set of paintings depicting the Loves of Jupiter as described in Ovid's Metamorphoses. The voluptuous series was commissioned by Federico II Gonzaga of Mantua, probably to decorate his private Ovid Room in the Palazzo Te. However, they were given to the visiting Holy Roman Emperor Charles V and thus left Italy within years of their completion. |
Leda and the Swan – acquired by Frederick the Great in 1753; now in Staatliche Museen of Berlin – is a tumult of incidents: in the centre Leda straddles a swan, and on the right, a shy but satisfied maiden. Danaë, now in Rome's Borghese Gallery, depicts the maiden as she is impregnated by a curtain of gilded divine rain. Her lower torso semi-obscured by sheets, Danae appears more demure and gleeful than Titian's 1545 version of the same topic, where the rain is more accurately numismatic. The picture once called Antiope and the Satyr is now correctly identified as Venus and Cupid with a Satyr. |
Ganymede Abducted by the Eagle depicts the young man aloft in literal amorous flight. Some have interpreted the conjunction of man and eagle as a metaphor for the evangelist John; however, given the erotic context of this and other paintings, this seems unlikely. This painting and its partner, the masterpiece of Jupiter and Io, are in Kunsthistorisches Museum of Vienna. Ganymede Abducted by the Eagle, one of the four mythological paintings commissioned by Federico II Gonzaga, is a proto-Baroque work due to its depiction of movement, drama, and diagonal compositional arrangement. |
Death |
Returning to his home town in later years, Correggio died there suddenly on 5 March 1534. The following day he was buried in San Francesco in Correggio near his youthful masterpiece, the 'Madonna di San Francesco', housed today in Dresden. The precise location of his tomb is now unknown. |
Evaluation |
Correggio was remembered by his contemporaries as a shadowy, melancholic, and introverted character. An enigmatic and eclectic artist, he appears to have emerged from no major apprenticeship. In addition to the influence of Costa, there are echoes of Mantegna's style in his work, and a response to Leonardo da Vinci, as well. Correggio had little immediate influence in terms of apprenticed successors, but his works are now considered to have been revolutionary and influential on subsequent artists. A half-century after his death Correggio's work was well known to Vasari, who felt that he had not had enough "Roman" exposure to make him a better painter. In the eighteenth and nineteenth centuries, his works were often noted in the diaries of foreign visitors to Italy, which led to a reevaluation of his art during the period of Romanticism. The flight of the Madonna in the vault of the cupola of the Cathedral of Parma inspired many scenographical decorations in lay and religious palaces during those centuries. |
Correggio's illusionistic experiments, in which imaginary spaces replace the natural reality, seem to prefigure many elements of Mannerist, Baroque, and Rococo stylistic approaches. He appears to have fostered artistic grandchildren, for example, Giovannino di Pomponio Allegri (1521–1593). Correggio had no direct disciples outside of Parma, where he was influential on the work of Giovanni Maria Francesco Rondani, Parmigianino, Bernardo Gatti, Francesco Madonnina, and Giorgio Gandini del Grano. |
Selected works |
Judith and the Servant (c. 1510)—Oil on canvas,Musée des Beaux-Arts, Strasbourg |
Holy Family with Saints Elizabeth and John the Baptist (c. 1510)—Oil on panel-Pavia Civic Museums, Pavia |
The Mystic Marriage of St. Catherine (1510–1515)—National Gallery of Art, Washington, D.C. |
Madonna (1512–14)—Oil on canvas, Castello Sforzesco, Milan |
Madonna and Child with St Francis (1514)—Oil on wood, 299 × 245 cm, Gemäldegalerie, Dresden |
Madonna and Child (unknown, early 1500s)—Oil on canvas, National Gallery for Foreign Art, Sofia |
Madonna of Albinea (1514, lost) |
Madonna and Child with the infant Saint John the Baptist (1514–15)—Oil on wood panel, 45 × 35.5 cm, National Gallery of Victoria, Melbourne |
Madonna and Child with the Infant John the Baptist (c. 1515)—Oil on panel, 64.2 × 50.2 cm, Art Institute of Chicago, Chicago |
The Holy Family with Saint Jerome (1515)–East Closet of Hampton Court Palace as part of the Royal Collection |
Madonna and Child with the Young Saint John (1516)—Oil on canvas, 48 × 37 cm, Museo del Prado, Madrid |
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