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Three Fates[3] (1525) -Galleria Nazionale d'Arte Antica Rome |
Adoration of the Magi (c. 1530) - Sant'Agostino, Siena |
Ordination of Saint Alfonso (1530) - Santo Spirito, Siena |
Crying for dead Christ or Pietà (1533) - Museo Soumaya, Mexico City |
Saint Jerome in Penitence (c. 1535–1545) - National Gallery, London |
The Holy Family with Saint John the Baptist and an Angel (c. 1535–1545) - Musée des Beaux-Arts de Strasbourg |
The Mystical Marriage of Saint Catherine[4] (1539–1540) - Galleria Nazionale d'Arte Antica, Rome |
Pietà (1540) - Galleria Borghese, Rome |
Sacra Conversazione (1542) - Museo Nazionale di San Matteo, Pisa |
Saint Sebastian with Madonna and Angels (1542) - Museo Nazionale di San Matteo, Pisa |
Allegory of Celestial Love, Chigi-Saracini Collection, Siena |
Leda Galleria Borghese, Roma |
Santa Maddalena (Private collection) |
The Marriage of Alexander and Roxanne - Fresco, Villa Farnesina, Rome |
Procession to Calvary – Museum & Gallery, Inc., South Carolina |
Pietà (Private collection) |
Critical assessments |
It is said that Sodoma jeered at Giorgio Vasari's Lives of the Artists and that Vasari repaid him by presenting a negative account of Sodoma's morals and demeanour and withholding praise of his work. According to Vasari, the name by which Bazzi was known was "Il Mattaccio" (the Madcap, the Maniac), this epithet having been bestowed upon him by the monks of Monte Oliveto. He dressed gaudily, like a mountebank, and his house was a Noah's ark, owing to the strange miscellany of animals he kept there. He was a cracker of jokes and fond of music, and he sang poems composed by himself on indecorous subjects. |
Vasari alleges that Sodoma was always a negligent artist, his early success in Siena, where he painted many portraits, being partly due to lack of competition, a judgment in which Sydney Freedberg concurs. Vasari asserts that as he aged, he became too "lazy" to make cartoons for his frescoes but daubed them straight onto the wall. Vasari nevertheless admits that Sodoma produced some works of very fine quality and that during his lifetime his reputation was high. |
Notes |
References |
Cust, Robert H. Hobart (1906). Giovanni Antonio Bazzi. London: John Murray. |
Hayum, A. (1976). Giovanni Antonio Bazzi 'Il Sodoma'. New York: New York University. |
Carli, Enzo (1950). Sodoma. |
Marciano-Agostinelli Tozzi, Maria Teresa (1951). Sodoma. Messina: Tipografia ditta d'Amico. |
Freedberg, Sydney J. (1993). Painting in Italy 1500–1600. Penguin Books. pp. 117–19 et passim. |
Radini Tedeschi, Daniele (2008). Sodoma. |
Radini Tedeschi, Daniele (2010). Sodoma, la vita le opere e gli allievi di uno dei massimi artisti del Rinascimento. |
Zarucchi, Jeanne Morgan (2015). "Vasari's Biography of Bazzi as 'Soddoma:' Art History and Literary Analysis," Italian Studies, Vol. 70, No. 2 (May 2015), pp. 167–190. |
Zarucchi, Jeanne Morgan (2017). "Félibien's Biography of 'Le Sodoma' and the Politics of Immorality," French Studies Bulletin, Vol. 38.1, No. 142 (Spring 2017), pp. 7–10. |
External links |
Media related to Sodoma at Wikimedia Commons |
Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on Il Sodoma (see index) |
Jacob Ferdinand Voet or Jakob Ferdinand Voet (c. 1639 – 26 September 1689) was a Flemish portrait painter. He had an international career that brought him to Italy and France, where he made portraits for an elite clientele. Voet is regarded as one of the best and most fashionable portrait painters of the High Baroque. |
Life |
Few details about Voet's early life, training and career have been preserved. Voet was born in Antwerp as the son of the painter Elias Voet. He was one of the fifteen children; his older brother Carlo moved to Amsterdam and married in 1661 a daughter of the wealthy Joan Coymans and Sophia Trip. Jacob left his native Antwerp and travelled to Rome where he resided from 1663 to 1680. Voet became a member of the Bentvueghels, an association of mainly Dutch and Flemish artists active in Rome. Voet drew a picture in charcoal of all the members of the Bentvueghels on the white-washed wall of an inn in Rome that was a popular meeting place of this group. The picture was treasured enough to be spared whenever the walls were repainted. |
In Rome Voet's skills as a portrait painter were much in demand at the Papal court and by the Roman aristocracy, including the prominent Colonna and Odescalchi families. He was patronised by Christina, Queen of Sweden, who was then resident in Rome. He painted her portrait as well as that of her friend, Cardinal Azzolino. Englishmen and other Europeans visiting Rome on their Grand Tour also commissioned portraits from Voet. |
In 1671–1672 Voet received a commission from Cardinal Chigi to paint portraits of young woman who were prominent in Roman society. He created a first series of 37 portraits of the most enchanting women of Rome ('Galleria delle Belle') between 1672 and 1678 for Cardinal Chigi's dining room in his palace in Ariccia (in the Alban hills outside Rome). He later copied and even enlarged the series for other Roman and Italian noble families. This started a rage for portraits of young women in Rome and abroad.In Rome Voet lived with the painter-engraver Cornelis Bloemaert. He was banned from the city by Pope Innocent XI who was scandalized by Voet's portraits of women portrayed with unseemly décolleté. He left Rome and is recorded in Milan in 1680. He was in Florence in 1681 where he worked for the Medici family. Subsequently, he resided in Turin from 1682 to 1684. He returned to Antwerp in 1684. According to the 18th century biographer Arnold Houbraken, Voet set out on his return journey to Antwerp from Turin together with the Dutch painter Jan van Bunnik, whom he had already met in Rome in the company of Cornelis Bloemaert. From Turin they set out for Lyons, where they met the painters Adriaen van der Cabel, Pieter van Bloemen, and Gillis Wenix. They then started out for Paris in the company of a third painter, Jacob van Bunnik who was Jan van Bunnik's brother. |
Voet was likely back in Antwerp in 1684. He left his hometown for Paris at some time between 1684 and 1686, was appointed as court painter and died there in 1689, living on Quai de Guénégaud. In Paris he became portrait painter to political and military personalities such as Michel Le Tellier, François-Michel le Tellier and Marquis of Humières. Jacques d'Agar was probably his pupil. |
Work |
Jacob Ferdinand Voet was a specialist portrait painter. The early Dutch biographer Houbraken noted that Voet painted history paintings and landscapes, but that it was through his royal, ecclesiastical and class portraits that he secured his success. Only portrait paintings and not a single history or landscape painting are currently attributed to him. |
Voet specialized in half-length portraits, in which all attention is concentrated on the subject, who emerges from a neutral, dark background. Voet's subjects usually have a reflective expression and very striking, memorable eyes, always large and evocative. He concentrated on decorative elements such as the hair and clothing of the characters. His paintings appear to have been executed with an effortless accuracy and a fluid ease. He was also noted as a painter of miniature portraits. |
It is likely that the works of the portrait painters Carlo Maratta (1625–1713) and Pierre Mignard (1612–1695) who were active in Rome at the same time as Voet inspired the comparable elegance of his style, which he combined with the Flemish attention to detail. |
Voet painted a few portraits in a genre that was popular in Flanders at the time: the portrait in garland paintings. Garland paintings are a special type of still life developed in Antwerp by artists such as Jan Brueghel the Elder, Hendrick van Balen, Frans Francken the Younger, Peter Paul Rubens and Daniel Seghers. They typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. Close collaboration between artists with different specialities was also a common practice in Rome. |
There are two portrait paintings attributed to Voet that use the portrait in a garland device. They are portraits of women, one in a garland of flowers, the other in a garland of fruit. The Portrait of a lady, traditionally identified as a member of the Colonna family was originally in the Colonna collection and as a result it is believed it depicts a member of the Colonna family (Auctioned at Christie's on 29 October 2015 in London, lot 99). As in other garland paintings, the garland can be seen as carrying various symbolic connotations. The flowers allude to the sitter's beauty and youth, which are in full bloom. A branch of lilies, depicted in the upper right, refers to her chastity. |
Voet's works were widely disseminated through copies by the Roman painter Pietro Veglia and engravings by the Flemish engraver Albertus Clouwet. The Roman publisher Giovanni Giacomo Rossi included Voet's portraits of Cardinals in the publication Effigies Cardinalium nunc viventum. |
References and notes |
Bibliography |
Francesco Petrucci, Ferdinand Voet (1639–1689) detto Ferdinando de' Ritratti, Ugo Bozzi Editore, Roma 2005 ISBN 88-7003-039-3 |
Francesco Petrucci, exhibition catalog Ferdinand Voet. Ritrattista di Corte tra Roma e l’Europa del Seicento, Roma, Castel Sant’Angelo, De Luca Editori, Roma 2005 |
Francesco Petrucci, Pittura di Ritratto a Roma. Il Seicento, 3 voll., Andreina & Valneo Budai Editori, Roma 2008, ad indicem |
Francesco Petrucci, Ferdinand Voet. Ritratto di Pietro Banchieri in veste di "bella", in "Quaderni del Barocco", 6, Ariccia 2009 |
External links |
Media related to Jacob Ferdinand Voet at Wikimedia Commons |
Jacob Philipp Hackert (15 September 1737 – 28 April 1807) was a landscape painter from Brandenburg, who did most of his work in Italy. |
Biography |
Hackert was born in 1737 in Prenzlau in the Margraviate of Brandenburg (now in Germany). He trained with his father Philipp (a portraitist and painter of animals) and his uncle, before going to the Prussian Academy of Arts in Berlin in 1758. Later he traveled to Swedish Pomerania and Stockholm, at the invitation of Adolf Friedrich von Olthof, a Swedish government official and businessman. For a time, he lived with Von Olthof and painted decorative murals at his estate. |
He spent from 1765 to 1768 in Paris with the Swiss artist Balthasar Anton Dunker, where he focused on painting in gouache. He met and was inspired by Claude Joseph Vernet, who was already famous as a painter of landscapes and seascapes, and the German engraver Johann Georg Wille. |
In 1768 Hackert left Paris with his brother Georg, and went to Italy, basing himself mainly in Rome and Naples, where he produced many works for Sir William Hamilton. He travelled all over Italy, gaining a reputation as a talented landscape painter. He became famous everywhere in Europe due to his works for Catherine the Great, the cycle of paintings about Battle of Chesma, and Pope Pius VI. |
In 1786 he went to work for Ferdinand I of the Two Sicilies in Naples. He advised on the creation of a painting restoration laboratory at the Museo di Capodimonte, suggesting the call from Rome to the court of Naples of the restorer Federico Anders and supervised the transfer of the Farnese collections from Rome to Naples. As court painter realised famous pictures of Caserta and the Royal Palace of Caserta, besides the paintings series of the Bourobon's ports. During this period he acted also as a secret informant of Russia, his contact being the Russian diplomat Andrey Razumovsky. |
When Goethe visited Naples in 1786, he and Hackert became friends. |
Hackert had settled in a house in Posillipo. The painters Salvatore Fergola and Salvatore Giusti (1773-1845) were among his pupils. |
In 1799, when Naples was declared the Parthenopaean Republic, Hackert lost much of his royal patronage. He moved to Pisa and then Florence. He bought an estate in San Pietro di Careggi, near Florence, and he died there in 1807 and was buried in the so-called "Dutch garden" of Livorno. His remains were then moved to the actual cemetery of the Dutch-German Congregation. |
He never married and lived a good part of his life with one of his brothers but he had affairs with some married women, and from one of them he probably had a daughter. |
Goethe wrote the first biography of Hackert in 1811. |
Selected works |
References |
Bibliography |
Wolfgang Krönig, Jakob Philipp Hackert: der Landschaftsmaler der Goethezeit, Cologne 1994. |
Claudia Nordhoff with Hans Reimer, Jakob Philipp Hackert 1737–1807. Verzeichnis seiner Werke, Berlin 1994. |
Thomas Weidner, Jakob Philipp Hackert. Landschaftsmaler im 18. Jahrhundert, Bd. 1, Berlin 1998. |
Cesare de Seta and Claudia Nordhoff, Hackert, Naples, 2005. |
Claudia Nordhoff, Hackert Briefe 1761–1806, Göttingen 2012. |
External links |
Media related to Jacob Philipp Hackert at Wikimedia Commons |
Jakob Seisenegger (1505–1567) was an Austrian portrait painter who was the court painter of Ferdinand I, Holy Roman Emperor, and also painted Ferdinand's brother Charles V. Most of his portraits are of the Austrian Habsburg family and their allies, including several of children. |
He won international fame for his use of full-length poses in his portraits, creating a model used by future artists, such as François Clouet. His portrait Emperor Charles V with Hound (1532) is now in the Kunsthistorisches Museum Vienna. |
References |
== External links == |
Jacobus Linthorst (c. 1745 – 7 August 1815) was a painter from the Dutch Republic. |
Linthorst was born in Amsterdam where he is known for fruit and flower arrangements as interior decorations as well as paintings. |
He was a follower of Rachel Ruysch and Jan van Huysum. He became a member of the Amsterdam guild of St. Luke on 6 June 1789. |
Linthorst died in Amsterdam. |
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