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Ostrow, Steven F., review of Giovanni Baglione: Artistic Reputation in Baroque Rome by Maryvelma Smith O'Neil, The Art Bulletin, Vol. 85, No. 3 (Sep. 2003), pp. 608–611, online text |
Wittkower, Rudolf, Art and Architecture in Italy, 1600-1750, Penguin/Yale History of Art, 3rd edition, 1973, ISBN 0-14-056116-1 |
Further reading |
Maryvelma Smith O'Neil, "Giovanni Baglione: Artistic Reputation in Baroque Rome", the main monograph in English, though criticised for Ostrow and others for over-praising Baglione. |
The genius of Rome 1592-1623, Royal Academy of Arts, London, 2001, editor Beverly Louise Brown. |
External links |
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Giovanni Baglione (see index) |
Giovanni Battista Caracciolo (also called Battistello) (1578–1635) was an Italian artist and important Neapolitan follower of Caravaggio. He was a member of the murderous Cabal of Naples, with Belisario Corenzio and Giambattista Caracciolo, who were rumoured to have poisoned and disappeared their competition for painting contracts. |
Early life |
The only substantial early source of biography is that of Bernardo de' Dominici's unreliable publication of 1742. De Dominici's statements are often contradicted by documented facts and others cannot be substantiated independently. Archival documents state Caracciolo was born in Naples and baptised on 7 December 1578, as the son of Cesare Caracciolo and his wife Elena. The family lived in the parish of San Giovanni Maggiore. |
On 3 August 1598, at the age of twenty, Caracciolo married Beatrice de Mario. They had ten children, of whom eight survived to adulthood. |
Caravaggesque phase |
His initial training was said to be with Francesco Imparato and Fabrizio Santafede, but the first impulse that directed his art came from Caravaggio's sudden presence in Naples in late 1606. Caravaggio had fled there after killing a man in a brawl in Rome, and he arrived at the end of September or beginning of October 1606. His stay in the city lasted only about eight months, with another brief visit in 1609/1610 leading to his 1610–1615 Baptism of Christ, yet his impact on artistic life there was profound. |
Caracciolo, only five years younger than Caravaggio, was among the first there to adopt the startling new style with its sombre palette, dramatic tenebrism, and sculptural figures in a shallow picture plane defined by light rather than by perspective. He is considered to be the solitary founder of the Neapolitan school of Caravaggism. Among the other Neapolitan Caravaggisti were Giuseppe Ribera, Carlo Sellitto, Artemisia Gentileschi, and Caracciolo's pupil, Mattia Preti, then early in his career. |
Caracciolo's Caravaggesque phase was fundamental to his entire career. His first contact with Caravaggio must have been around the time of the Radolovich commission, dated 6 October 1606, and the contacts continued through Caravaggio's completion of the Seven Works of Mercy during the last months of that year and early 1607. A notable result of Caravaggio's influence is Caracciolo's The Crucifixion of Christ, with its strong echoes of the Crucifixion of Saint Andrew. |
In 1607, he painted the Immaculate Conception for the Santa Maria della Stella in Naples. It is considered to be his first documented Caravaggesque painting. |
In 1612, he made a trip to Rome. A work showing the influence of this visit, and especially that of Orazio Gentileschi, is the Liberation of Saint Peter (1615), painted for the Pio Monte della Misericordia, to hang next to Caravaggio's Seven Works of Mercy painted for the same church. By this time he had become the leader of the new Neapolitan school, dividing his time between religious subjects (altarpieces and, unusually for a Caravaggist, frescos) and paintings for private patrons. |
After 1618 he visited Genoa, Rome and Florence. In Rome he came under the influence of the revived Classicism of the Carracci cousins and the Emilian school, and began working towards a synthesis of their style with his own tenebrism – his Cupid, with its bravura handling of the red cloth, shows the influence of the Carracci synthesis. Back in Naples, he translated this into grandiose, wide-ranging scenes frescos including his masterpiece Christ Washing the Feet of the Disciples of 1622, painted for the Certosa di San Martino. He also painted further works in the Certosa di San Martino, Santa Maria La Nova and San Diego all'Ospedaletto and these works of the late second decade of the 17th century onward, show the strong influence of Bolognese classicism he might have been exposed to in Rome. |
He died in Naples, in the few days between creating his last will, on 19 December 1635, and 24 December 1635, when it was opened and read. |
Gallery |
Notes |
References |
Bibliography |
Bryan, Michael (1886). Graves, Robert Edmund (ed.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. I: A-K. London: George Bell and Sons. p. 230. |
Causa, Rafaello (1950). "Aggiunte al Caracciolo" [Additions to Caracciolo]. Paragone (in Italian). I (9): 42–45. |
Longhi, Roberto (1915). "Battistello Caracciolo". L'Arte. 18: 120–137. |
MacFall, Haldane (2004). A History of Painting: Later Italians and Genius of Spain. Vol. 3. Kessinger Publishing. ISBN 1417945087. |
Nicolson, Benedict (1979). Caravaggism in Europe (2nd ed.). Oxford. pp. 74–77. |
Viardot, Louis (1877). An illustrated history of painters of all schools. Sampson, Low, Marston, Searle, & Rivington. |
Wittkower, Rudolf (1980). Art and Architecture Italy, 1600–1750. Penguin Books. pp. 356–358. |
Ferdinando Bologna (Herausgeber) Battistello Caracciolo e il primo naturalismo a Napoli, Ausstellungskatalog Castel San Elmo, Chiesa della Certosa di San Martino, 1991/92 |
Stefano Causa Battistello Caracciolo: L'Opera Completa 1578–1635, Neapel 2000 (Causa promovierte über Battistello an der Universität Neapel: Ricerche su Battistello Caracciolo 1994/95) |
Nicola Spinosa u.a. Tres Siglos de Oro de la Pintura Napolitana. De Battistello Caracciolo a Giacinto Gigante, Ausstellungskatalog, Museum der Schönen Künste Valencia 2003/4, Ed. Caja Duero, 2003 |
External links |
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Battistello Caracciolo (see index) |
Giovanni Battista Moroni (c. 1520-1524– 5 February 1578) was an Italian painter of the Mannerism. He also is called Giambattista Moroni. Best known for his elegantly realistic portraits of the local nobility and clergy, he is considered one of the great portrait painters of the Cinquecento. |
Biography |
Moroni was the son of architect Andrea Moroni. He trained under Alessandro Bonvicino in Brescia, where he was the main studio assistant during the 1540s, and worked in Trento, Bergamo and his home town of Albino, near Bergamo, where he was born and died. His two short periods in Trento coincided with the first two sessions of the Council of Trent, 1546–48 and 1551–53. On both occasions Moroni painted a number of religious works (including the altarpiece of the Doctors of the Church for the church of Santa Maria Maggiore, Bergamo) as well as the series of portraits for which he is remembered. |
During his stay in Trento he also made contact with Titian and the Count-Bishop, Cristoforo Madruzzo, whose own portrait is by Titian, but for whom Moroni painted portraits of Madruzzo's sons. There were nineteenth-century claims that he was trained by Titian at Trento, however, it is improbable that he ever ventured to the Venetian's studio for long, if at all. Moroni's period as the fashionable portraitist of Bergamo, nowhere documented but in the inscribed dates of his portraits, is unexpectedly condensed, spanning only the years ca. 1557–62, after which Bergamo was convulsed in internecine strife and Moroni retired permanently to Albino, (Rossi, Gregori et al.) where, in his provincial isolation, he was entirely overlooked by Giorgio Vasari. His output at Bergamo, influenced in part by study of the realism of Savoldo, produced in the few years a long series of portraits that, while not quite heroic, are full of dignified humanity and grounded in everyday life. The subjects are not drawn exclusively from the Bergamasque aristocracy, but from the newly self-aware class of scholars, professionals, and exemplary government bureaucrats, with a few soldiers, presented in detached and wary attitudes with Moroni's meticulous passages of still life and closer attention to textiles and clothing than to psychological penetration. |
His output of religious paintings, destined for a less sophisticated audience in the local sub-Alpine valleys, was smaller and less successful than his portraits: "the exact truth of parts nowhere added up, in his altar pictures, even to the semblance of credibility", S. J. Freedberg has observed of their diagrammatic schemes borrowed from Moretto, Savoldo, and others. for example, he painted a Last Supper for the parish at Romano in Lombardy; Coronation of the Virgin in Sant'Alessandro della Croce, Bergamo; also for the cathedral of Verona, SS Peter and Paul, and in the Brera of Milan, the Assumption of the Virgin. Moroni was engaged upon a Last Judgment in the church of Gorlago, when he died. Overall, his style in these paintings shows influences of his master, Lorenzo Lotto, and Girolamo Savoldo. Giovanni Paolo Cavagna was an undistinguished pupil of Moroni, however, it is said that in following generations, his insightful portraiture influenced Fra' Galgario and Pietro Longhi. |
Freedberg notes that while his religious canvases are "archaic", recalling the additive compositions of the late Quattrocento and show stilted unemotive saints, his portraits are remarkable for their sophisticated psychological insight, dignified air, fluent control, and exquisite silvery tonality. Patrons for religious art were not interested in an individualized, expressive "Madonna", they desired numinous archetypal saints. On the other hand, patrons were interested in the animated portraiture. |
Public collections with works by Moroni |
The National Gallery (London) has one of the best collections of his work, including the celebrated portrait known as Il sarto (The Tailor). Other portraits are found in the Uffizi (the Nobleman Pointing to Flame inscribed, "Et quid volo nisi ut ardeat?"), Berlin Gallery, the Canon Ludovico de' Terzi and Moroni's self-portrait; and in the National Gallery, Washington, D.C., A Gentleman in Adoration Before the Madonna, the full-length portrait of Gian Federico Madruzzo, and the seated half-figure of the Jesuit Ercole Tasso, traditionally called, "Titian's Schoolmaster", although there is no real connection with Titian. |
Among the public collections holding works by Giovanni Battista Moroni are, the Accademia Carrara (Bergamo) (Portrait of an old man), Ashmolean Museum (University of Oxford), Brooks Museum of Art (Memphis, Tennessee), Detroit Institute of Arts, the Fine Arts Museums of San Francisco, the Hermitage Museum, the Honolulu Museum of Art, Kunsthistorisches Museum (Vienna), the Liechtenstein Museum (Vienna), the Musée du Louvre, Musée Condé Chantilly (Chantilly, France), Museo Poldi Pezzoli (Milan), the Museum of Fine Arts, Boston, National Galleries of Scotland, the National Gallery of Art (Washington, D.C.), The Metropolitan Museum of Art (New York), the Art Gallery of New South Wales, the National Gallery of Canada (Portrait of a Man), the National Gallery, London, the Norton Simon Museum (Pasadena, California), Pinacoteca Ambrosiana (Milan), Pinacoteca di Brera (Milan), Rijksmuseum, the John and Mable Ringling Museum of Art (Sarasota, Florida), Studio Esseci (Padua, Italy), University of Arizona Museum of Art, Virginia Museum of Fine Arts, National Gallery of Ireland (Portrait of a Gentleman and his two Children), the Uffizi (Portrait of Giovanni Antonio Pantera), the Prado (A Soldier), and the Worcester Art Museum (Portrait of a Man). |
In 2016, "Portrait of a Man", attributed to the workshop of Giovanni Battista Moroni, was restituted to the heirs of Dr. August Liebmann Mayer. The painting had been looted by the Nazis, returned to France and in storage at the Louvre Museum in Paris since 1951. |
Gallery |
References and sources |
References |
Sources |
Freedberg, S.J. (1993). Painting in Italy 1500–1600. 3rd ed. 1993. Yale University Press. pp. 591–95. |
Gregori, Mina. Giovan Battista Moroni—tutte le opere. Bergamo: Poligrafiche Bolis, 1979. |
Ng, Aimee, Simone Facchinetti and Arturo Galansino. Moroni: The Riches of Renaissance Portraiture. Exh. cat. Feb. 29–June 2, 2019. New York: The Frick Collection, 2019. (review with excerpts and images, Delancy Place, July 12, 2019) |
Rossetti, William Michael (1911). "Moroni, Giambattista" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. p. 861. |
Tiraboschi, Giampiero. Giovan Battista Moroni: l'uomo e l'artista. Bergamo: Tera mata, 2016. |
Wittkower, Rudolf (1993). "Art and Architecture Italy, 1600–1750". Pelican History of Art. 1980. London: Penguin Books. pp. 591–595. |
External links |
Guardian article on Moroni |
Paintings by Moroni Archived 2021-07-09 at the Wayback Machine |
Herbermann, Charles, ed. (1913). "Giovanni Battista Moroni" . Catholic Encyclopedia. New York: Robert Appleton Company. |
Painters of reality: the legacy of Leonardo and Caravaggio in Lombardy, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Moroni (see index) |
Exhibition at the Frick Collection, New York, in 2019. |
Giovanni Battista Piazzetta (also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 – April 28, 1754) was an Italian Rococo painter of religious subjects and genre scenes. |
Biography |
Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703–05, although there is no record by Crespi of formal tutelage. Thanks to Crespi, Carlo Cignani's influence reached Piazzetta. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm in his pictures of common folk. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino. |
Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. Yet Piazzeta's range of topics was broader than that of these artists; Tiepolo, for example, never painted genre paintings and restricted himself to grand history and religious altarpieces. Ricci and Tiepolo had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless, Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette influenced Piazzetta in his later years. |
Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer (1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo. |
Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings. |
In 1750 Piazzetta became the first director of the newly founded Accademia di Belle Arti di Venezia, and he devoted the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella), Johann Heinrich Tischbein, Egidio Dall'Oglio, and Antonio Marinetti. The engraver Marco Pitteri was affiliated with his studio, and engraved many of his works. Among younger painters who emulated his style are Giovanni Battista Pissati, Giulia Lama, Federico Bencovich, and Francesco Polazzo (1683–1753). He died in Venice on April 28, 1754. |
Selected works |
St.James Led to Martyrdom (1717) Chiesa di San Stae, Venice. |
Madonna and child appearing to St Philip Neri (1725-7) |
Glory of St.Dominic (1725–1727) Chiesa di Santi Giovanni e Paolo, Venice. |
Ecstasy of St.Francis (1732) |
Assumption (1735) |
St. Margaret of Cortona (1737) National Gallery Art, Washington DC [2] |
Sacrifice of Isaac, (after 1735, unfinished) [3] |
Rebecca at the well, c 1740 |
Fortune Teller(1740) |
The Pastoral (1739–41) |
The Death of Darius (1746) |
Peasant Girl (1720–22) |
Portrait of Giulia Lama(c.1715-1720) Thyssen-Bornemisza Museum. Madrid. |
The Sacrifice of Isaac (c.1715) Thyssen-Bornemisza Museum on loan at The MNAC, Barcelona. |
Portrait of a Young Woman in Profile with a Mask in her Right Hand (c.1720-1730) Carmen Thyssen-Bornemisza Collection on loan at The Thyssen-Bornemisza Museum, Madrid. |
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