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Madonna del Carmine
Temptation of St. Anthony (1690), San Niccolò degli Albari, Bologna
Aeneas, The Sibyl and Charon, Kunsthistorisches Museum, Vienna
Hecuba blinding Polynestor, Royal Museums of Fine Arts of Belgium, Brussels
Tarquin and Lucretia, National Gallery, Washington D.C.
The Triumph of Hercules, The Four Seasons, The Three Fates, Neptune and Diana, frescoes of Palazzo Pepoli Campogrande, Bologna
The Finding of Moses & David and Abigail, Museo di Palazzo Venezia, Rome
Love triumphant (L'Ingegno), Musée des Beaux-Arts de Strasbourg
Chiron Teaches Achilles (1700s), Kunsthistorisches Museum, Vienna, Austria
The Ecstasy of Saint Margaret of Cortona (1701), Duomo, Bologna
Massacre of the Innocents (1706), Uffizi, Florence, Pinacoteca Nazionale, Bologna, and National Gallery, Dublin
The Fair at Poggio a Caiano (1709), Uffizi
The Nurture of Jupiter (1729), Kimbell Art Museum, Fort Worth
Singer at Spinet with an Admirer (1730s), Uffizi
Village Fair with dentist (1715–20), Pinacoteca di Brera, Milan [1]
Series of The Seven Sacraments (1712), Gemäldegalerie, Dresden
Meeting between James Stuart and the Prince Albani, Národní Galerie, Prague
Annunciation with Saints (1722), Sarzana Cathedral
The Crucifixion (Pinacoteca di Brera, Milan)
Self-portrait (1725-1730), Pinacoteca di Brera, Milan
The Assumption of the Virgin (1730), Archivio Arcivescovile, Lucca
Two altarpieces for the church of the Gesù, Ferrara (1728–1729)
Four altarpieces for the church of the Benedictine Monastery of San Paolo D'Argon, province of Bergamo (1728–1729)
Martyrdom of Saint John the Evangelist
Joshua Stopping the Sun (1737), Colleoni Chapel, Bergamo
Martyrdom of Saint Peter of Arbuès (1737), Collegio di Spagna, Bologna
Self-portrait, Pinacoteca Nazionale, Bologna
The Family of Zanobio Troni, Pinacoteca Nazionale, Bologna
The Lute Player, Museum of Fine Arts, Boston
The Hunter, Pinacoteca Nazionale, Bologna)
The Messenger, Staatliche Kunsthalle, Karlsruhe
Courtyard Scene, Pinacoteca Nazionale, Bologna
Searching for Fleas,(Louvre); variants (Uffizi), Museo Nazionale di San Matteo, Pisa, and Museo di Capodimonte, Naples
The Woman Washing Dishes, Galleria degli Uffizi
A Peasant Family with Boys Playing, London
Peasants Playing Musical Instruments, London
Peasants with Donkeys, London
Importunate Lovers, Hermitage
Peasant Flirtation, London
Menghina from the Garden meets Cacasenno
Music Library Pinacoteca Nazionale, Bologna
Cupids at Play, El Paso Museum of Art
St John Nepomuk Hears Confession from the Queen of Bohemia, Turin, Galleria Sabauda
Man With Helmet, Nelson-Atkins Art Museum, Kansas City, Missouri
Notes
References
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Crespi, Giuseppe Maria". Encyclopædia Britannica. Vol. 9 (11th ed.). Cambridge University Press. p. 412.
Hobbes, James R. (1849). Picture collector's manual adapted to the professional man, and the amateur. London: T&W Boone. p. 68.
Spike, John T. (1986). Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. Fort Worth: Kimball Museum of Art. pp. 14–35.
Luigi, Lanzi (1847). Thomas Roscoe (ed.). The History of Painting in Italy; from period of the revival of the arts to the eighteenth century. London: Henry G. Bohn. pp. 162–165.
Domenico Sedini, Giuseppe Maria Crespi Archived 2016-12-27 at the Wayback Machine, online catalogue Artgate by Fondazione Cariplo, 2010, CC BY-SA.
External links
Media related to Paintings by Giuseppe Maria Crespi at Wikimedia Commons
Giuseppe Recco (1634 – 29 May 1695) was an Italian painter in the Baroque style. He specialized in a variety of still lifes.
Career
Born in Naples, he likely apprenticed with his family, including his father Giacomo Recco and uncle Giovan Battista Recco. Later, he perfected his technique with Paolo Porpora, who had been one of his father's students. During a stay in Lombardy, from 1644 to 1654 with his uncle, he was influenced by the works of Evaristo Baschenis.
As his fame spread, he was invited to come to Spain by King Charles II. His assemblies of victuals, both vegetable and animal, were very popular there. His style is often compared to that of Giovan Battista Ruoppolo, who was also a student of Porpora. Early in his career, he went from painting flowers to more varied assemblies and was among the first Italian painters to do so.
Recco may have died at Alicante, Spain, before reaching Madrid, although contemporary sources indicate that he lived there for seven years and became a Knight in the Order of Calatrava.
His children Nicolo and Elena also became painters. In 1989, the art historian, Federico Zeri, raised questions concerning his father's true identity.
Selected paintings
Sources
Boni, Filippo de' (1852). Biografia degli artisti ovvero dizionario della vita e delle opere dei pittori, degli scultori, degli intagliatori, dei tipografi e dei musici di ogni nazione che fiorirono da'tempi più remoti sino á nostri giorni. Seconda Edizione.. Venice; Googlebooks: Presso Andrea Santini e Figlio. p. 844.
External links
Media related to Giuseppe Recco at Wikimedia Commons
Giuseppe Porta (1520–1575), also known as Giuseppe Salviati, was an Italian painter of the late-Renaissance period, active mostly in Venice.
Biography
Born in Castelnuovo di Garfagnana, in 1535 he apprenticed with Francesco Salviati in Rome. He adopted his mentor's last name when signing paintings. In 1539, he accompanied his master to Venice, and stayed there after Salviati left in 1541. From 1541 to 1552 he worked at Padua, painting in particular a series of ' Scenes from the Life of John the Baptist’‘, in the Selvático Palace. In 1565, he returned to Rome to paint frescoes, left incomplete by his master, for the Sala Regia (Emperor Frederick I. doing homage to Alexander III) in the Vatican. He returned to Venice in 1565 to paint both in the Doge's Palace and Biblioteca Marciana, where he painted Sibyls, the Prophets, and the Cardinal Virtues ; and for the chapel, the Dead Christ with his mother and Mary Magdalen. He was elected into the Florentine Accademia dell'Arte del Disegno. Much of his output was on now-lost external façade decoration. He also published a mathematically oriented treatises on decorative column design. He painted a Descent from the Cross, with the Virgin, Mary Magdalene, and St. John for the Church Degli Angeli at Murano.
Among his pupils were Pietro Malombra and Girolamo Gamberati.
References
Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. pp. 132–133.
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II L-Z. London: George Bell and Sons. p. 311.
External links
Getty museum entry.
Giuseppe Zais (Italian pronunciation: [dʒuˈzɛppe dˈdzais]; March 22, 1709 – October 29, 1784) was an Italian painter of landscapes (vedutisti) who painted mostly in Venice. He was born in Forno di Canale.
He was influenced in his vedute by Marco Ricci and later Francesco Zuccarelli, who helped train him. He is best known for frescoes in Villa Pisani in Stra. While he had been a member of the Academy of Painters in Venice from 1774, he died in poverty at Treviso.
Sources
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. 1980. Penguin Books Ltd. p. 501.
Giusto Utens or Justus Utens (died 1609) was a Flemish painter who is remembered for the series of Medicean villas in lunette form that he painted for the third Grand Duke of Tuscany, Ferdinando I, in 1599–1602.
He moved to Carrara about 1580, where he married, and where later he returned and died.
Medici villas
The Medici villas illustrated by Utens from a bird's-eye perspective are:
Villa Medici del Trebbio
Villa Medicea di Cafaggiolo
Palazzo Pitti, the Boboli Gardens and Fort Belvedere
Villa Medici di Castello
Villa Medici La Petraia
Villa di Pratolino