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"Beccafumi, Domenico di Pace". Encyclopedia Americana. 1920. |
"Beccafumi, Domenico". New International Encyclopedia. 1905. |
Domenico di Bartolo (birth name Domenico Ghezzi), born in Asciano, Siena, was a Sienese painter of the early Renaissance period. In the Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari says that Domenico was the nephew of Taddeo di Bartolo. Influenced by the new Florentine style of painti... |
Domenico is first recorded in 1420 when he and several other Sienese artists, is documented as part of a project to paint in Siena Cathedral. He is first recorded as a master in 1428, in a list of the painters' guild (ruolo dei pittori). His first surviving signed and dated work comes from 1433: The Madonna of Humility... |
The frescoes executed in the Pellegrinaio of the hospital between 1439 and 1440 represent scenes of the institution's history and good works; they are the artist's last finished works and are considered to be his masterpieces. For the most part, Domenico's works were based in Perugia, and his only known activity outsid... |
Early life |
Domenico di Bartolo was born in Asciano, which was a province in Siena in the Italian region Tuscany. Domenico carried the family name Ghezzi. There is only one document that could have been associated with Domenico before 1428. As observed by Johns Hopkins art history professor Carl Strehlke, in the Opera del Duomo pa... |
Carl Brendon Strehlke further elaborates that the payment documents for the Opera del Duomo show that, at the time, the Opera was overseeing several important sculptural commissions: a new pulpit for the Council of Siena, the decoration of the cathedral pavement, and most importantly the construction of a new baptismal... |
Madonna of Humility (1433) |
Domenico di Bartolo's Madonna of Humility of 1433 is recorded to be the artist's first-ever commissioned piece of artwork. Renaissance Scholar Bruce Cole refers to Domenico's Madonna of Humility with Angels as "one of the loveliest works of the early Sienese Quattrocento". When observed comparatively, the painting trac... |
The composition of the painting is centred with a very volumetrically and triangularly depicted Madonna. Behind her are five angels, who form a semicircle that gives further movement and depth into the painted space. Referring back to several of the Madonna panels by Masaccio that have survived until today, a similarit... |
Logistically, Taddeo would especially be a likely possibility because of his apparent Florentine styles in his art. Having this kind of mentorship would have most definitely have encouraged Domenico to observe and attempt to adapt to the latest Florentine artistic styles, techniques, trends and developments. More so th... |
In regards to sculptor Jacopo della Quercia, Domenico's Madonna of Humility shows hints of adaptation by displaying similarities to Jacopo's Madonna in the Fonte Gaia. Both portray a new kind of gothic flexibility in the draper, which creates soft pockets of shadows that add a new kind of weightiness to the figure and ... |
In the painting, the Virgin is also depicted in a way that had been popularized in Siena by Gentile da Fabriano: an Italian painter who was best known for his international gothic painting style. Other artists who depicted the Virgin in a similar manner during this time were Giovanni di Paolo for his Branchini Madonna ... |
Domenico di Bartolo was praised for capitalizing on Florentine elements, and was considered an incredibly talented Sienese painter because of how early on in his career he had managed to adopt the Florentine Renaissance style. Giorgio Vasari notes that sometime in his career, Domenico di Bartolo painted altarpieces for... |
The Theology that seems to have influenced the Madonna of Humility aligns with preacher and proclaimed saint Bernardino Albizzeschi, otherwise referred to as Bernardino da Siena (1380–1444, canonized 1450 ). Albizzeschi is considered to be one of the major religious and political figures to have shaped the outcomes of ... |
In regards to who actually commissioned Domenico di Bartolo's first work, the answer remains entirely ambiguous. However, researcher Carl Strehlke observes and concludes that two likely candidates to consider in this aspect are Casini and Bartoli, both of whom were Bishops of Siena from 1408 and 1427 respectively. Both... |
The Sigismund Plaque (1434) |
In 1434, Domenico also conceived and designed a fresco panel with the representation of Emperor Sigismund Enthroned (Sigismund, Holy Roman Emperor) for the Siena Cathedral, however the specific date of completion remains unknown. Art critic and historian Cesare Brandi has praised Domenico's fresco panel in his writings... |
Adult career |
From the works completed by Domenico in the later part of his thirties, only three paintings from these years have managed to survive. First, a Perugia altarpiece for Santa Giuliana. Second, a signed and dated Madonna and Child in the Johnson Collection, and finally, a small Madonna del Refugio in Siena. Domenico also ... |
Siena Cathedral Sacristy Frescoes |
Whilst Domenico is best known for his frescoes for the Santa Maria della Scala Hospital in Siena, the Sacristy frescoes he had completed for the Siena Cathedral played an integral part in establishing Domenico's name as a rising fresco painter in Siena. Domenico began to work on the sacristy frescoes one month after hi... |
Madonna and Child Enthroned (1437) |
In 1437, four years after the Madonna of Humility, Domenico di Bartolo painted a Madonna and Child. Giorgio Vasari identifies the panel painting "Madonna and Child Enthroned" as a fragment of an altarpiece for the high altar of the Santa Maria del Carmine, Florence e. As observed by art historian Carl Strehlke, the poi... |
Scholar Bruce Cole observes that the two largely depicted figures, the Madonna and the child, seem to have the same "awkward but compelling force" that one can spot in Masaccio's paintings. Straying away from the more popular and predominant characteristics in Sienese paintings, Domenico's painting of the Madonna and C... |
Santa Maria della Scala (1439–1444) |
Between 1439 and 1444, Domenico di Bartolo participated in the decoration of the Pilgrim's hall in the Hospital of Santa Maria della Scala, where he followed the artistic styles of artist Lorenzo Vecchietta and consequently produced six frescoes, all of which were signed by Domenico himself. As a result, this five-year... |
Santa Maria della Scala, Siena was one of Europe's first hospitals, and whilst it is now a museum on display, it is still one of the oldest hospital buildings surviving today. The hospital is conveniently located across both the Siena Cathedral and the Opera del Duomo, where Domenico also completed commissioned works a... |
The frescoes that Domenico produced were located on the walls of the Pellegrinaio di Santa Maria della Scala, which served as a ward for sick patients at the time. Pellegrinaio is alternatively referred to as the Pilgrim's Hall, and the art that decorates the hall's interiors serves to represent a strong proof of artis... |
Care of The Sick |
Domenico's first of his six frescoes is named the "Care of The Sick", which is signed by Domenico with Latin inscription and dated to 1440. The fresco shows, with impressive detail, the interior layout of the hospital ward. Doctors and nurses are depicted assisting the patients, as well as carrying out other generous ... |
Education and Betrothal of the Foundlings |
The second most recognized fresco produced by Domenico was named Education and Betrothal of the Foundlings. The entire basis of which the painting is orientated upon depends almost entirely on the architectural formation. The painting depicts foundlings being betrothed under a detailed, elaborate building with grand ar... |
The last fresco |
Domenico was unable to finish all six frescoes in time. Domenico began to have complications in his relationship with the hospital after he was unable to deliver a completed sixth fresco. In addition to this, the hospital had also commissioned Domenico to produce a Madonna della Misericordia, which he was also unable t... |
Final years |
Di Bartolo's last ever (dated) commission was the fresco of the Coronation of the Virgin in the Cancelleria di Biccherna, for the Palazzo Pubblico of Siena. He began to paint four angel heads, but his work was interrupted by his death in 1445. Soon after, the fresco was completed by another Sienese artist Sano di Pietr... |
== References == |
Domenico Fetti (also spelled Feti) (c. 1589 – 16 April 1623) was an Italian Baroque painter who was active mainly in Rome, Mantua and Venice. |
Biography |
Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604–1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, later Duke Ferdinando I Gonzaga. In the Ducal Palace, he painted t... |
In August or September 1622, his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles (epitomized by Palma the Younger and the successors of Tintoretto and Veronese). Into this mix, in the 1620s–30s, three "... |
In Venice, where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalized painting style became more colourful. In addition, he devoted attention to smaller cabinet pieces that adapt genre imaging to religious stories. His group of paintings entitled Parables, which represent... |
His painting style appears to have been influenced by Rubens. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 or 1624. Jan Lys, eight years younger, but who had arrived in Venice nearly contemporaneously, died during the plague of 1629–30. Subsequently, Fetti's style w... |
Gallery |
Works |
Fetti's works include: |
The Good Samaritan (Metropolitan Museum of Art, New York) |
Melancholy (Accademia, Venice) |
Emperor Domitian (Louvre) |
Eve and Laboring Adam (Louvre) |
Angel in the Garden (Louvre) |
Jacob's Dream (Kunsthistorisches Museum, Vienna) |
Portrait of an Actor (Hermitage Museum, St Petersburg) |
The Healing of Tobit (Hermitage Museum, St Petersburg) |
References |
Wittkower, Rudolf (1993). Pelican History of Art, Art and Architecture Italy, 1600–1750. Penguin Books. pp. 106–107. |
Herbermann, Charles, ed. (1913). "Domenico Feti". Catholic Encyclopedia. New York: Robert Appleton Company. |
Askew, Pamela (1954). Domenico Fetti. London. |
External links |
Media related to Paintings by Domenico Fetti at Wikimedia Commons |
Web Gallery of Art, paintings by Domenico Feti |
Domenico Gargiulo called Micco Spadaro (c. 1609-1610 – c. 1675) was an Italian painter of the Baroque period, mainly active in Naples and known for his landscapes, genre scenes, and history paintings. |
Life |
Domenico Gargiulo was the son of a sword maker. This earned Domenico the nickname 'Micco Spadaro' ('spadaro' means 'sword maker'). He was trained in the workshop of the battle painter Aniello Falcone, where he was a contemporary of Andrea di Leone and Salvator Rosa. He also worked with Viviano Codazzi, to whose archite... |
His early works were influenced by Paul Bril whose works he must have known from Bril's 1602 landscape frescoes in the atrium of S Maria Regina Coeli in Naples. He was also influenced by Filippo Napoletano. |
Among his pupils were Pietro Pesce and Ignazio Oliva. He was patronized by collectors such as Gaspar Roomer. He also worked in the Certosa di San Martino, where he painted in the Coro dei Conversi and Quarto del priori. He painted a representation of the insurrection by Masaniello and of the plague of 1656. |
References |
Bibliography |
Schütze, Sebastian (1995). "Domenico Gargiulo detto Micco Spadaro. Paesaggista e 'cronista' napoletano". The Burlington Magazine. pp. 624–625. |
Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. p. 69. |
External links |
Media related to Domenico Gargiulo at Wikimedia Commons |
Lafranconi, Matteo (1999). "GARGIULO, Domenico, detto Micco Spadaro". Dizionario Biografico degli Italiani, Volume 52: Gambacorta–Gelasio 2 (in Italian). Rome: Istituto dell'Enciclopedia Italiana. ISBN 978-8-81200032-6. |
Domenico di Tommaso Curradi di Doffo Bigordi (2 June 1448 – 11 January 1494), professionally known as Domenico Ghirlandaio (also spelt as Ghirlandajo), was an Italian Renaissance painter born in Florence. Ghirlandaio was part of the so-called "third generation" of the Florentine Renaissance, along with Verrocchio, the ... |
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