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Pupils and legacy
Reni was the most famous Italian artist of his generation.
Through his many pupils, he had a wide-ranging influence on later Baroque. In the centre of Bologna, he established two studios, teeming with nearly 200 pupils. His most distinguished pupil was Simone Cantarini, named Il Pesarese, who painted the portrait of his master now in the Bolognese Gallery.
Reni's other Bolognese pupils included Antonio Randa (early on in his career considered the best pupil of Reni, until he tried to kill his master), Vincenzo Gotti, Emilio Savonanzi, Sebastiano Brunetti, Tommaso Campana, Domenico Maria Canuti, Bartolomeo Marescotti, Giovanni Maria Tamburino, and Pietro Gallinari (Pierino del Signor Guido).
Other artists who trained under Reni include Antonio Giarola (Cavalier Coppa), Giovanni Battista Michelini, Guido Cagnacci, Giovanni Boulanger of Troyes, Paolo Biancucci of Lucca, Pietro Ricci or Righi of Lucca, Pietro Lauri Monsu, Giacomo Semenza, Gioseffo and Giovanni Stefano Danedi, Giovanni Giacomo Manno, Carlo Cittadini of Milan, Luigi Scaramuccia, Bernardo Cerva, Francesco Costanzo Cattaneo of Ferrara, Giulio Dinarelli, Francesco Gessi, and Marco Bandinelli.
Beyond Italy, Reni's influence was important in the style of many Spanish Baroque artists, such as Jusepe de Ribera and Murillo.
But his work was particularly appreciated in France—Stendhal believed Reni must have had "a French soul"—and influenced generations of French artists such as Le Sueur, Le Brun, Vien, and Greuze; as well as on later French Neoclassic painters. In the 19th century, Reni's reputation declined as a result of changing taste—epitomized by John Ruskin's censorious judgment that the artist's work was sentimental and false.
A revival of interest in Reni has occurred since 1954 when an important retrospective exhibition of his work was mounted in Bologna.
Partial anthology of works
Galatea and Acis, attributed, Grand Palace at Gatchina, Saint Petersburg, Russia
Self-Portrait
Callisto and Diana
Crucifixion of St Peter, Vatican Museums, Rome
Christ Crucified, San Lorenzo in Lucina, Rome
Cupids Fighting Putti, Doria Pamphilj Gallery, Rome
Four Seasons, Museo di Capodimonte, Naples
Holy Trinity, Santissima Trinità dei Pellegrini, Rome
The Immaculate Conception, Chiesa di San Biagio, Forlì
Massacre of the Innocents, Pinacoteca Nazionale, Bologna
Penitent Magdalene, ca. 1635, Walters Art Museum, Baltimore
Penitent Peter, Mabee-Gerrer Museum of Art, Shawnee, Oklahoma
Lament over the Body of Christ, Pinacoteca Nazionale, Bologna
Ecce Homo, Gemäldegalerie Alte Meister, Dresden
Ecce Homo, 1639, The Fitzwilliam Museum, Cambridge
Saints Peter and Paul, Pinacoteca di Brera, Milan
Assumption of the Virgin, Chiesa del Gesù e dei Santi Ambrogio e Andrea, Genoa
Assumption of Mary, Chiesa parrocchiale di Santa Maria, Castelfranco Emilia
St Paul the Hermit and St Anthony in the Wilderness, Gemäldegalerie, Berlin
Fortune, Vatican Museums
Samson Drinking from the Jawbone of an Ass, Pinacoteca Nazionale, Bologna
Ariadne, Capitoline Museums
Atalanta and Hippomenes, 1612, Prado, Madrid
St Philip Neri in Ecstasy, 1614, Roman Oratory church, Santa Maria in Vallicella - The Chiesa Nuova, Rome
Atalanta and Hippomenes, 1622–25, Museo di Capodimonte, Naples
Madonna of the Rosary, Madonna di San Luca, Bologna
Labors of Hercules, Louvre
Suicide of Lucrezia, ca. 1625–40, São Paulo Art Museum, São Paulo
Lucrezia and Cleopatra, Pinacoteca Capitolina, Rome
Polyphemus, Pinacoteca Capitolina, Rome
Annunziata Chapel, Quirinal Palace, Rome
St Sebastian, Pinacoteca Nazionale, Bologna
St Sebastian, Dulwich Picture Gallery; other versions are in the collections of the Cheltenham Art Gallery and Museum in the UK, the Palazzo Rosso in Genoa, the Capitoline Museum, the Louvre and at least 7 other known originals and multiple copies such as at the Kunsthistorisches Museum in Vienna.
St John the Baptist in the Wilderness, Dulwich Picture Gallery
Adoration of the Magi, Certosa di San Martino, Naples
Judith, Birmingham Museum of Art, Birmingham, Alabama, United States
Lotta di Putti, Galleria Doria Pamphilj, Rome
The Flagellation, St. Francis Xavier Church, Taos, Missouri, United States
St John the Evangelist, Muscarelle Museum of Art, Williamsburg, VA
Triumph of Job, Cathedral of Notre Dame, Paris
Jesus Christ with the Cross, Real Academia de Bellas Artes de San Fernando, Madrid
Conversion of St Paul, Patrimonio nacional, Madrid
An Evangelist, House of Alba Foundation, at Liria Palace, Madrid
The Louvre contains twenty of his pictures, the Prado Museum in Madrid eighteen, the National Gallery of London seven, and others once there have now been removed to other public collections. Among the seven is the small Coronation of the Virgin, painted on copper. It was probably painted before the master left Bologna for Rome.
Gallery
References and sources
References
Sources
Cavalli, Gian Carlo (ed.)Guido Reni exh. cat. Bologna 1954
Pepper, Stephen, Guido Reni, Oxford 1984
Marzia Faietti, 'Rome 1610: Guido Reni after Annibale Carracci' Print Quarterly, XXVIII, 2011, pp. 276–81
Orlandi, Pellegrino Antonio; Guarienti, Pietro, Abecedario Pittorico, Naples, 1719 Abecedario pittorico del M.R.P. Pellegrino Antonio Orlandi, Bolognese : contenente notizie de'professore di pittura, scoltura, ed architettura, in questa edizione corretto e notabilmente di nuove notizie accresciuto
Guido Reni 1575-1642 (exhibition catalogue Pinacoteca Nazionale, Bologna; Los Angeles County Museum of art; Kimbell Art Museum, Fort Worth) Bologna 1988
Spear, Richard, The 'Divine' Guido: Religion, Sex, Money, and Art in the World of Guido Reni, New Haven and London, 1997
Hansen, Morten Steen and Joaneath Spicer, eds., Masterpieces of Italian Painting, The Walters Art Museum, Baltimore and London, 2005
"Printmaking". Encyclopædia Britannica. 2007. Encyclopædia Britannica Online. 29 March 2007
External links
104 artworks by or after Guido Reni 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 Guido Reni (see index)
Jusepe de Ribera, 1591-1652, a full text exhibition catalog from The Metropolitan Museum of Art, which includes material on Guido Reni (see index)
A poem about which models Guido Reni used for female subjects Archived 29 April 2013 at the Wayback Machine
Guillaume Voiriot (20 November 1712 – 9 December 1799) was a French portrait painter.
Biography
Voiriot was born in Paris into a family originally from Lorraine; his father was a sculptor. He travelled to Italy at his own expense from 1746 to 1749, studying at the French Academy in Rome. On his return he initially joined the Académie de Saint-Luc as a pastellist, then in 1759 was accepted into the Académie royale de peinture et de sculpture as a painter in oils, on the strength of portraits of the painters Jean-Baptiste Marie Pierre and Jean-Marc Nattier. From then until 1771, he regularly exhibited portraits in the Paris Salons.
Voiriot was a friend of the architect Michel-Barthélemy Hazon; they had travelled to Rome together. Through him he made contacts in Normandy that led to a number of portraits. From 1770, he was an associate of the Academy of Arts in Rouen.
After 1771, he exhibited less often, concentrating on administrative tasks while continuing to paint family members, scientists, writers, actors and musicians. He died in Paris.
The catalogue assembled by Catherine Voiriot lists 67 surviving works, 8 works known from engravings, and 37 works mentioned by sources. Some of his portraits are unusually lively. Some of the lost works were early copies after Georges de La Tour; it is possible that some of those that survive are misattributed to de La Tour or others.
References
Bibliography
Catherine Voiriot. "Voiriot Guillaume (1712–1799), portraitiste de l'Académie royale de peinture et de sculpture". In: Bulletin de la Société de l'Histoire de l'Art français, 2004 issue (2005) 111–57 (in French)
External links
Media related to Guillaume Voiriot at Wikimedia Commons
Jean Désiré Gustave Courbet (UK: KOOR-bay, US: koor-BAY, French: [ɡystav kuʁbɛ]; 10 June 1819 – 31 December 1877) was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and the Romanticism of the previous generation of visual artists. His independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator and as an artist willing to make bold social statements through his work.
Courbet's paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects. Courbet's subsequent paintings were mostly of a less overtly political character: landscapes, seascapes, hunting scenes, nudes, and still lifes. Courbet was imprisoned for six months in 1871 for his involvement with the Paris Commune and lived in exile in Switzerland from 1873 until his death four years later.
Biography
Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans (department of Doubs). Anti-monarchical feelings prevailed in the household. (His maternal grandfather fought in the French Revolution.) Courbet's sisters, Zoé, Zélie, and Juliette were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish, and find inspiration.
Courbet went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he soon left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre, and painting copies of their work.
Courbet's first works were an Odalisque inspired by the writing of Victor Hugo and a Lélia illustrating George Sand, but he soon abandoned literary influences, choosing instead to base his paintings on observed reality. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, in which the artist portrayed himself in various roles. These include Self-Portrait with Black Dog (c. 1842–44, accepted for exhibition at the 1844 Paris Salon), the theatrical Self-Portrait which is also known as Desperate Man (c. 1843–45), Lovers in the Countryside (1844, Musée des Beaux-Arts, Lyon), The Sculptor (1845), The Wounded Man (1844–54, Musée d'Orsay, Paris), The Cellist, Self-Portrait (1847, Nationalmuseum, Stockholm, shown at the 1848 Salon), and Man with a Pipe (1848–49, Musée Fabre, Montpellier).
Trips to the Netherlands and Belgium in 1846–47 strengthened Courbet's belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, the Neo-romantics and Realists, notably Champfleury.
Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state. The gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857 (when the rule changed).
In 1849–50, Courbet painted The Stone Breakers (destroyed in the Allied Bombing of Dresden in 1945), which Proudhon admired as an icon of peasant life; it has been called "the first of his great works". The painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey: "It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning."