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Gallery |
Four Seasons |
Four Elements |
See also |
Jan Brueghel the Elder |
Hidden faces |
Jan van Kessel the Elder |
The Librarian (painting) |
Hide-and-Seek (painting) |
Composite miniature painting |
Art of the late 16th century in Milan |
References |
Readings |
DaCosta Kaufmann, Thomas. Arcimboldo: Visual Jokes, Natural History, and Still-Life Painting. — Chicago — London: University of Chicago Press, 2009. — 313 p. — ISBN 9780226426860 |
Ferino-Pagden, Sylvia, ed. (2007). Arcimboldo : 1526-1593. Milan: Skira. ISBN 978-88-6130-379-9. OCLC 181069711. |
External links |
Giuseppe-Arcimboldo.org The Complete works by Giuseppe Arcimboldo |
Giuseppe Archimboldo collection at the Israel Museum. |
"Arcimboldo's Feast for the Eyes" Archived 10 October 2013 at the Wayback Machine Smithsonian Magazine |
Giuseppe Bazzani (23 September 1690 – 17 August 1769) was an Italian painter of the Rococo. |
Biography |
Born in Mantua to a goldsmith, Giovanni Bazzani, early on he apprenticed with the Parmesan painter Giovanni Canti (1653–1715). A fellow pupil was Francesco Maria Raineri. He spent most of his life in Mantua. From 1752, he was faculty, and from 1767, director of the Accademia di Belle Arti of Mantua. |
While ensconced in a declining provincial city, he absorbed international influences. His loose brushstrokes, fervid and often dark emotionalism, and tortured poses, which recall at times later expressionism, display stylistic tendencies more typical of Lombardy. Numerous artists, including Fetti, Bencovich, Rubens, and Magnasco are said to have influenced him, although the number and diversity of the artists suggested hints that he had an idiosyncratic and unique synthesis for his time. |
Among his early works are paintings of the Miracles of Pius V, the Conversion of a Heretic and the Healing of a Madwoman (all mid-1720s; Mantua, Museum of the Ducal Palace of Mantua), initially painted for the church of Saint Maurice in Mantua. He painted depictions of the evangelists St. John, St. Mark and St. Luke (all late 1720s) for the parish church of Vasto di Goito. He painted the Baptism, the Ecstasy of St. Aloysius Gonzaga and the Ecstasy of Saints Francis & Anthony (1732) for the parish church of Borgoforte. Seven canvases depicting the Life of Alexander the Great were painted for Giacomo Biondi, one of the artist's early patrons. His altarpiece of St Romuald's Vision, initially painted for the church of San Marco, but now in Diocesan Museum of Mantua, the saint, book in hand, has a dream in which he sees his fellow Benedictine monks ascending to heaven in a clumsy, touching, human parade up a staircase instead of a mystical Jacob's ladder. The painting merges a mixture of mystical vision and stylized empiric observation. The nineteenth-century art historian Carlo D'Arco was unconvinced about this brash new style, and said of Bazzani's work that "(he) wanted always to always use a great force of genius ...and most of his works appear as if unperfected sketches and immature conceptions that are drowning and convulsing in mannered styles." |
The painter Domenico Conti Bazzani (1740–1815) was his pupil and adopted son, and became a prominent Neoclassical painter in Rome. |
References |
Wittkower, Rudolf (1993). Pelican History of Art: Art and Architecture Italy, 1600-1750. Penguin Books, Ltd. pp. 478–479. |
Perina, Chiara (1964). Some Unpublished Paintings by Giuseppe Bazzani. The Art Bulletin. pp. 227–231. |
Coddè, Dr. Pasquale (1837). Augmented and written by the Luigi Coddè, PhD. (ed.). Memorie Biografiche, poste in forma di Dizionario die Pittori, Scultori, Architetti, ed Incisori Mantovani. Mantua: Presso i Fratelli Negretti. pp. 12–17. |
Web Gallery of Art biography on Bazzani. |
== Anthology == |
Giuseppe Cesari (14 February 1568 – 3 July 1640) was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome. |
Biography |
Cesari's father, Muzio Cesari, had been a native of Arpino, but Giuseppe himself was born in Rome. Here, he was apprenticed to Niccolò Pomarancio. Cesari is stigmatized by Luigi Lanzi, as not less the corrupter of taste in painting than Marino was in poetry (Lanzi disdained the style of post-Michelangelo Mannerism as a time of decline.). |
Cesari's first major work, done in his twenties, was the painting of the right counterfacade of San Lorenzo in Damaso, completed from 1588 to 1589. On 28 June 1589, he received the commission for the murals of the choir vault in the Certosa di San Martino in Naples. From 1591 he was again in Rome, where he painted the vault in the Contarelli Chapel within the church of San Luigi dei Francesi. He also completed murals in the Cappella Olgiati in Santa Prassede, and the vault of the Sacristy in the Certosa di San Martino. |
He was a man of touchy and irascible character, and rose from penury to the height of opulence. His brother Bernardino Cesari assisted in many of his works. Cesari became a member of the Accademia di San Luca in 1585. In 1607, he was briefly jailed by the new papal administration. He died in 1640, at the age of seventy-two, or perhaps of eighty, at Rome. |
His only direct followers were his sons Muzio (1619–1676) and Bernardino (d. 1703). Pier Francesco Mola (1612–1666) apprenticed in his studio. Other pupils include Francesco Allegrini da Gubbio, Guido Ubaldo Abatini, Vincenzo Manenti, and Bernardino Parasole. |
His most notable and perhaps surprising pupil was Caravaggio. In c. 1593–94, Caravaggio held a job at Cesari's studio as a painter of flowers and fruit. |
Selected works |
Cappella Olgiati in Santa Prassede (1592) |
Frescoes in Salon of the Palazzo dei Conservatori (now Capitoline Museum, 1595-96) |
Battle between Horatii and Curiatii[1] |
Finding of the She-wolf[2] |
Rape of the Sabine Women[3] |
Numa Pompilius Instituting the Cult of the Vestals[4] |
Cappella Paolina in the church of Santa Maria Maggiore (1609) |
Immaculate Conception, Real Academia de Bellas Artes de San Fernando, Madrid. |
Prado Museum, Madrid |
The Holy Family with the Infant Saint John |
The Mystical Betrothal of Saint Catherine |
Perseus Rescuing Andromeda, Saint Louis Art Museum, St. Louis. |
References |
Bibliography |
Gash, J. (1996). Caravaggio, in Turner, J. (ed). The Dictionary of Art. London: Macmillan |
Hobbes, James R. (1849). Picture collector's manual; Dictionary of Painters. London: T. & W. Boone. p. 49. |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cesari, Giuseppe". Encyclopædia Britannica. Vol. 5 (11th ed.). Cambridge University Press. p. 767. |
Mann, Judith (2021). Paintings on Stone: Science and the Sacred, 1530-1800, Judith Mann (ed). St. Louis: Himer. |
External links |
Biography at arte-argomenti.org (in Italian) |
8 artworks by or after Giuseppe Cesari at the Art UK site |
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Giuseppe Cesari (see index) |
Giuseppe Maria Crespi (March 14, 1665 – July 16, 1747), nicknamed Lo Spagnuolo ("The Spaniard"), was an Italian late Baroque painter of the Bolognese School. His eclectic output includes religious paintings and portraits, but he is now most famous for his genre paintings. |
Giuseppe Crespi, together with Giambattista Pittoni, Giovan Battista Tiepolo, Giovan Battista Piazzetta, Canaletto, and Francesco Guardi form the traditional great Old Masters painters of that period. |
Biography |
Crespi was born in Bologna to Girolamo Crespi and Isabella Cospi. His mother was a distant relative of the noble Cospi family, which had ties to the Florentine House of Medici. He was nicknamed "the Spanish One" (Lo Spagnuolo) because of his habit of wearing tight clothes characteristic of Spanish fashion at the time. |
By age 12 years, he apprenticed with Angelo Michele Toni (1640–1708). From the age of 15–18 years, he worked under the Bolognese Domenico Maria Canuti. The Roman painter Carlo Maratti, on a visit to Bologna, is said to have invited Crespi to work in Rome, but Crespi declined. Maratti's friend, the Bolognese Carlo Cignani invited Crespi in 1681–82 to join an Accademia del Nudo for the purpose of studying drawing, and he remained in that studio until 1686, when Cignani relocated to Forlì and his studio was taken over by Canuti's most prominent pupil, Giovanni Antonio Burrini. From this time on, Crespi worked independently of other artists. |
His main biographer, Giampietro Zanotti, said of Crespi: "(He) never again wanted for money, and he would make the stories and caprices that came into his imagination. Very often also he painted common things, representing the lowest occupations, and people who, born poor, must sustain themselves in serving the requirements of wealthy citizens". Thus it was for Crespi himself, as he began a career servicing wealthy patrons with artwork. He is said to have had a camera optica in his house for painting. By the 1690s he had completed various altarpieces, including a Temptation of Saint Anthony commissioned by Count Carlo Cesare Malvasia, now in San Niccolò degli Albari. |
He journeyed to Venice, but surprisingly, never to Rome. Bearing his large religious canvas of Massacre of the Innocents and a note from Count Vincenzo Rannuzi Cospi as an introduction, Crespi fled in the middle of the night to Florence in 1708, and gained the patronage of the Grand Duke Ferdinand III de' Medici. He had been forced to flee Bologna with the canvas, which while intended for the Duke, had been fancied by a local priest, Don Carlo Silva for himself. The events surrounding this episode became the source of much litigation, in which Crespi, at least for the next five years, found the Duke a firm protector. |
An eclectic artist, Crespi was a portrait painter and a brilliant caricaturist, and he was also known for his etchings after Rembrandt and Salvator Rosa. He could be said to have painted a number of masterpieces in different styles. He painted few frescoes, in part because he refused to paint for quadraturists, though in all likelihood, his style would not have matched the requirements of a medium then often used for grandiloquent scenography. He was not universally appreciated, Lanzi quotes Mengs as lamenting that the Bolognese school should close with the capricious Crespi. Lanzi himself describes Crespi as allowing his "turn for novelty at length to lead his fine genius astray". He found Crespi included caricature in even scriptural or heroic subjects, he cramped his figures, he "fell in to mannerism", and painted with few colors and few brushstrokes, "employed indeed with judgement but too superficial and without strength of body". |
The Seven Sacraments |
One celebrated series of canvases, the Seven Sacraments, was painted around 1712, and is now in the Gemäldegalerie Alte Meister, Dresden. It was originally completed for Cardinal Pietro Ottoboni in Rome, and upon his death passed to the Elector of Saxony. These imposing works are painted with a loose brushstroke, but still maintain a sober piety. Making no use of hieratic symbols such as saints and putti, they utilize commonplace folk to illustrate sacramental activity. |
Crespi and the genre style |
Crespi is best known today as one of the main proponents of baroque genre painting in Italy. Italians, until the 17th century, had paid little attention to such themes, concentrating mainly on grander images from religion, mythology, and history, as well as portraiture of the mighty. In this they differed from Northern Europeans, specifically Dutch painters, who had a strong tradition in the depiction of everyday activities. There were exceptions: the Bolognese Baroque titan of fresco, Annibale Carracci, had painted pastoral landscapes, and depictions of homely tradespeople such as butchers. Before him, Bartolomeo Passerotti and the Cremonese Vincenzo Campi had dallied in genre subjects. In this tradition, Crespi also followed the precedents set forth by the Bamboccianti, mainly Dutch genre painters active in Rome. Subsequently, this tradition would also be upheld by Piazzetta, Pietro Longhi, Giacomo Ceruti and Giandomenico Tiepolo to name a few. |
He painted many kitchen scenes and other domestic subjects. The painting of The Flea (1709–10) depicts a young woman readying for sleep and supposedly grooming for a nagging pest on her person. The environs are squalid—nearby are a vase with a few flowers and a cheap bead necklace dangling on the wall—but she is sheltered in a tender womb of light. She is not a Botticellian beauty, but a mortal, her lapdog asleep on the bed-sheets. |
In another genre scene, Crespi captures the anger of a woman at a man publicly urinating on wall, with a picaresque cat also objecting to the man's indiscretion. |
Later works and pupils |
True to his eclecticism, is the naturalistic St John Nepomuk confessing the Queen of Swabia, made late in Crespi's life. In this painting, much is said by partially shielded faces. His Resurrection of Christ is a dramatic arrangement in dynamic perspectives, somewhat influenced by Annibale Carracci's altarpiece of the same subject. |
While many came to work in the studio, Crespi established after Cignani's departure, few became notable. Antonio Gionima was moderately successful. Others included Giovanni Francesco Braccioli; Giacomo Pavia; Giovanni Morini; Pier Guariente; Felice and his brother Jacopo Giusti; and Cristoforo Terzi. He may also have influenced Giovanni Domenico Ferretti. While the Venetian Giovanni Battista Piazzetta claimed to have studied under Crespi, the documentation for this is nonexistent. |
Two of Crespi's sons, Antonio (1712–1781) and Luigi (1708–1779) became painters. According to their account, Crespi may have used a camera obscura to aid in depiction of outdoor scenes in his later years. After his wife's death, he became reclusive, rarely leaving the house except to go to daily mass. |
Partial anthology of works |
The Marriage at Cana, Art Institute of Chicago |
Holy Family (1688), Parish Church of Bergantino |
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