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Villa Medicea L'Ambrogiana
Villa di Lappeggi
Villa di Poggio a Caiano
Villa di Serravezza
Villa La Magia
Villa Di Marignolle
Villa di Montevettolini
Villa di Colle Salvetti
The three missing lunettes are thought to be the Villa di Artimino and perhaps the Villa Medici di Careggi. In the early twentieth century an anonymous artist completed the scheme, based on eighteenth-century vedute illustrating the villa at Careggi, that at Cerreto Guidi and Villa del Poggio Imperiale, which in the sixteenth century was still the Villa di Poggio Baroncelli.
Location
Of the seventeen Utens paintings, fourteen have survived, and were displayed in the history museum of Florence, the Museo di Firenze com'era, until its closure in 2010. They were transferred in 2014 to a new permanent gallery at Petraia Villa Medici.
Lunettes of the Medicean villas
See also
Villa Medici, Fiesole
References
Further reading
Ballerini, Isabella. (2003). The Medici Villas: The Complete Guide. Florence: Giunti. ISBN 978-88-09-02995-8.
Gortzius Geldorp (1553–1618) was a Flemish Renaissance artist who was active in Germany where he distinguished himself through his portrait paintings.
Life
Gortzius Geldorp was born in Leuven. The early Flemish biographer Karel van Mander reported that Geldorp first learned to paint from Frans Francken I and later from Frans Pourbus the Elder. Frans Pourbus the Elder was a prominent portrait painter in Flanders. Frans Francken I and Frans Pourbus the Elder were both pupils of Frans Floris, the leading Renaissance painter in Antwerp.
Geldorp became court painter to the Duke of Terra Nova, Carlo d'Aragona Tagliavia, whom he accompanied on his trips. He travelled to Cologne with the Duke who was participating in peace negotiations with the Dutch Republic. Geldorp stayed in the city while remaining a companion of the Duke on his travels. In 1610 Geldorp took over the seat of Barthel Bruyn the Younger on the city council of Cologne. Geldorp was a successful portrait painter working for the aristocracy and other prominent patrons.
Geldorp died in Cologne, aged about 65. The painter Georg Geldorp who was mainly active in England was his son. The painter Melchior Geldorp who worked in Cologne was probably his son or nephew.
Work
Geldorp was mainly a painter of individual and group portraits. Van Mander also mentions some history paintings such as a Diana, a Susanna, an Evangelist, the History of Esther and Ahasverus and two busts of Christ und Mary. These history paintings typically take the form of portrait-style depiction of a saint or a biblical or mythological figure. An example is the Venus, or a young woman en deshabillé (Sotheby's London sale of 2 May 2018 lot 27), which shows Venus in the form of a portrait of a semi-nude woman.
There are 70 known works by him which are mostly painted on panel. A series of nine family portraits are part of the collection of the Rijksmuseum, Amsterdam.
He had a brilliant and powerful palette in which the browns dominate. His later works are characterised by soft transitions and a blueish tone in the wrists and neck of his subjects.
Some of his paintings were engraved by Crispijn van de Passe.
References
External links
Media related to Gortzius Geldorp at Wikimedia Commons
Guido Cagnacci (13 January 1601 – 1663) was an Italian Baroque painter originally from Santarcangelo di Romagna. His mature works are characterized by their use of chiaroscuro and their sensual subjects. He was influenced by the masters of the Bolognese School.
Biography
Guido Cagnacci was born on 13 January 1601 in the small city of Santarcangelo di Romagna to Matteo Cagnacci, a tanner and furrier, and Livia Serra. His mother (Serra) came from the province of Cesena; the origins of his paternal family, however, are altogether uncertain. Some documents suggest that the Cagnacci came from Castel Durante, but it is also possible that they hailed from Rimini, where Matteo moved in 1618.
Not much is known about Guido's early life or training as a painter, though he is widely characterized as an autodidact. According to Giovan Battista Costa (the artist's eighteenth-century biographer), Cagnacci "had been given such marvelous talent from nature to become a painter that he began to practice this noble art all by himself and one could say almost without master." It was probably due to this precocious talent that Matteo Cagnacci ultimately decided to send his son away from his birthplace for more formal training.
From 1617 to 1621, Matteo supported his son's education in Bologna, where he stayed with the nobleman Girolamo Leoni. He also ostensibly paid for two trips to Rome, where he lodged with Guercino. Although the identity of his master during this early period remains uncertain, Ludovico Carracci and Guido Reni are popularly cited as the young artist's Bolognese teachers.
Cagnacci worked in Rimini from 1627 to 1642. After that, he moved to work in Forlì, where he would have been able to observe the paintings of Melozzo.
Prior to living in Forlì he had been in Rome, where he had come in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci in Bologna. His initial output includes many devotional subjects. But moving to Venice under the name of Guido or Guidobaldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings. These often depicted sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene. This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1649, he moved to Venice, where he took pupils, established a workshop, and had considerable success. Although harshly criticized by the Venetian painters Pietro Liberi and Marco Boschini, his work found favor with collectors and gained great popularity through reproductive prints. In 1658, he traveled to Vienna, where he remained under patronage of the Emperor Leopold I.
His life was often tempestuous, as can be characterized by the 1628 episode of a failed elopement with an aristocratic widow. Some contemporaries describe him as eccentric, "unreliable and of doubtful morality". He is said to have enjoyed the company of female models dressed as men. He died in Vienna in 1663.
Art historian Pier Giorgio Pasini says Cagnacci's art "was highly appreciated, as is demonstrated by contemporary eulogies (Mazzoni, and Martinioni in Sansovino) and by the summons (c. 1660) to Vienna to be court painter to Emperor Leopold I". His work remained popular in the 18th century, but subsequently fell into obscurity until reassessed by modern critics. The artist's rediscovery began in 1959 with the Seicento Bolognese exhibition. Art historian Luisa Vertova says the inconsistent quality of Cagnacci's work is bewildering: "his compositions amount to little more than empirical juxtapositions in uncertain spaces, his backdrops ... are rickety cardboard stage-flats", and "puffy ears and uncouth hands are attached to torsos modelled with great sensibility to skin-surface, but his inventive capacity is rudimentary. Nevertheless, in moments of inspiration this uncultivated painter succeeds in creating forceful images which are hard to forget." Gloria Fossi says his painting is "warm with the heightened tones of grazing light, rich in the play of shadows and colors."
Selected works
Saint Sisto pope (1627), Museo di Saludecio e del Beato Amato, Saludecio, Rimini - Italy
Procession of the Holy Sacrament (1628) Museo di Saludecio e del Beato Amato, Saludecio, Rimini - Italy
Christ with Saints Joseph and Eligius (1635)
Madonna with saints Andre Corsini Teresa and Maria Maddalena de' Pazzi (1640, Santarcangelo di Romagna)
Frescoes in Cappella della Madonna del Fuoco (Duomo, Forlì)
Allegory of spheral Astrology (Pinacoteca civica, Forlì)
Glory of Saints Valerian and Mercurial (Faenza)
Leopold I portrait (Vienna)
Calling of Saint Matthew (Museo della Città - Rimini)
Allegorical Naked Figure (private)
The Death of Cleopatra (Pinacoteca di Brera, Milan)
Death of Cleopatra (Kunsthistorisches Museum, Gemäldegalerie, Vienna)
Death of Lucretia [1]
The Repentant Magdalene (Norton Simon Museum)
Gallery
References
External links
Media related to Guido Cagnacci at Wikimedia Commons
Guido Reni (Italian pronunciation: [ˌɡwiːdo ˈrɛːni]; 4 November 1575 – 18 August 1642) was an Italian Baroque painter, although his works showed a classical manner, similar to Simon Vouet, Nicolas Poussin, and Philippe de Champaigne. He painted primarily religious works, but also mythological and allegorical subjects. Active in Rome, Naples, and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of the Carracci.
Biography
Born in Bologna into a family of musicians, Guido Reni was the only child of Daniele Reni and Ginevra Pozzi. Apprenticed at the age of nine to the Bolognese studio of Denis Calvaert, he was soon joined in that studio by Albani and Domenichino.
When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Ludovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Ludovico's cousin, Annibale Carracci, to Rome.
Reni completed commissions for his first altarpieces while in the Carracci academy. He left the academy by 1598, after an argument with Ludovico Carracci over unpaid work. Around this time he made his first prints, a series commemorating Pope Clement VIII's visit to Bologna in 1598.
Work in Rome
By late 1601 Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. By 1604–05 he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After returning briefly to Bologna, he went back to Rome to become one of the premier painters during the papacy of Pope Paul V (Borghese); between 1607 and 1614 he became one of the painters most patronized by the Borghese family.
Located in Casino dell' Aurora on the grounds of the Palazzo Pallavicini-Rospigliosi, is Reni's fresco masterpiece, L'Aurora. The building was originally a pavilion commissioned by Cardinal Scipione Borghese; the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale.
The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne in the Farnese.
In this painting, Reni allies himself more with the sterner Cavaliere d'Arpino, Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly coloured style is antithetical to the tenebrism of Caravaggio's followers. Documents show that Reni was paid 247 scudi and 54 baiocchi upon completion of his work on 24 September 1616.
In 1630 the Barberini family of Pope Urban VIII commissioned from Reni a painting of the Archangel Michael for the church of Santa Maria della Concezione dei Cappuccini. The painting, completed in 1636, gave rise to an old legend that Reni had represented Satan—crushed under St Michael's foot—with the facial features of Cardinal Giovanni Battista Pamphilj in revenge for a slight.
Reni also frescoed the Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumour, the pontifical chapel of Montecavallo (Chapel of the Annunciation) was assigned to Reni to paint. However, because he felt underpaid by the papal ministers, the artist left Rome once again for Bologna, leaving the role of the pre-eminent artist in Rome to Domenichino.
Work in Naples and return to Bologna
Returning to Bologna more or less permanently after 1614, Reni established a successful and prolific studio there. He was commissioned to decorate the cupola of the chapel of Saint Dominic in Bologna's Basilica of San Domenico between 1613 and 1615, resulting in the radiant fresco Saint Dominic in Glory, a masterpiece that can stand comparison with the exquisite Arca di San Domenico below it.
He also contributed to the decoration of the Rosary Chapel in the same church with a Resurrection; and in 1611 he had already painted for San Domenico a superb Massacre of the Innocents (now in the Pinacoteca Nazionale di Bologna) which became an important reference for the French Neoclassic style, as well as a model for details in Picasso's Guernica. In 1614–15 he painted The Israelites Gathering Manna for a chapel in the cathedral of Ravenna.
Circa 1615 in Bologna, Reni created one of his most reproduced works, Saint Sebastian (sometimes called by the Italian San Sebastiano). The painting is thought to have been a commission for a member of the papal court due to the presence of lapis lazuli in the blue of the sky, an expensive material usually supplied by clients. Reni painted Saint Sebastian a total of six times, though the 1615 rendition is arguably the most recognizable. Notably, the painting has been adored by Oscar Wilde and other gay artists throughout history.
Leaving Bologna briefly in 1618, Reni travelled to Naples to complete a commission to paint a ceiling in a chapel of the cathedral of San Gennaro. However, in Naples, other prominent local painters, including Corenzio, Caracciolo and Ribera, were vehemently resistant to competitors, and according to rumour, conspired to poison or otherwise harm Reni (as may have befallen Domenichino in Naples after him). Reni's assistant was so badly wounded that he returned to Rome. Reni, who had a great fear of being poisoned, chose not to outstay his welcome.
After leaving Rome, Reni alternately painted in different styles, but displayed less eclectic tastes than many of Carracci's trainees. For example, his altarpiece for Samson Victorious formulates stylized poses, like those characteristic of Mannerism.
In contrast, his Crucifixion and his Atlanta and Hipomenes depict dramatic diagonal movement coupled with the effects of light and shade that portray the more Baroque influence of Caravaggio. His turbulent yet realistic Massacre of the Innocents (Pinacoteca, Bologna) is painted in a manner reminiscent of a late Raphael. In 1625 Prince Władysław Sigismund Vasa of Poland visited the artist's workshop in Bologna during his visit to Western Europe. The close rapport between the painter and the Polish prince resulted in the acquisition of drawings and paintings.
In 1630, while Bologna was suffering from plague, Reni painted the Pallion del Voto with images of Saints Ignatius of Loyola and Francis Xavier.
By the 1630s Reni's painting style became looser, less impastoed, and dominated by lighter colours. A compulsive gambler, Reni was often in financial distress despite the steady demand for his paintings. According to his biographer, Carlo Cesare Malvasia, Reni's need to recoup gambling losses resulted in rushed execution and multiple copies of his works produced by his workshop. The paintings of his last years include many unfinished works.
Reni's themes are mostly biblical and mythological. He painted few portraits; those of Sixtus V and of Cardinal Bernardino Spada are among the most noteworthy, along with one of his mother (in the Pinacoteca Nazionale di Bologna) and a few self-portraits – both from his youth and from his old age.
The so-called "Beatrice Cenci", formerly ascribed to Reni and praised by generations of admirers, is now regarded as a doubtful attribution. Beatrice Cenci was executed in Rome before Reni ever lived there and thus could not have sat for the portrait. Many etchings are attributed to Guido Reni, some after his own paintings and some after other masters. They are spirited, in a light style of delicate lines and dots. Reni's technique, as used by the Bolognese school, was the standard for Italian printmakers of his time.
Reni died in Bologna in 1642. He was buried there in the Rosary Chapel of the Basilica of San Domenico; the painter Elisabetta Sirani (whose father had been Reni's pupil and whom some considered the artistic reincarnation of Reni) was later interred in the same tomb.