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Il Baciccio: the Fashioning of a Derivative Artistic Identity Through Portraiture

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Il Baciccio: the Fashioning of a Derivative Artistic Identity Through Portraiture IL BACICCIO: THE FASHIONING OF A DERIVATIVE ARTISTIC IDENTITY THROUGH PORTRAITURE By LESLIE ANNE ANDERSON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Leslie Anne Anderson This thesis is dedicated to my parents. ACKNOWLEDGMENTS I would first like to thank my parents, Glenn and Vanessa Anderson, for their continued emotional and financial support throughout my academic career. From an early age, my parents helped to instill a deep appreciation for art in me through visits to museums, such as the Prado in Madrid, the Picasso Museum in Barcelona, the National Gallery in London, Kunsthalle in Hamburg, and the Statens Museum for Kunst in Copenhagen. They spared no expense to ensure that their daughter was well-traveled and highly educated. I am also greatly indebted to Dr. Robert Westin, who has guided me through the process of writing this thesis, offering many insightful ideas and comments along the way, Dr. Elizabeth Ross for serving on my thesis committee, and Dr. Eric Segal for his pearls of wisdom on graduate study in the field of art history. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES .......................................................................................................... vii ABSTRACT...................................................................................................................... xii CHAPTER 1 INTRODUCTION ........................................................................................................1 A Problematic Topic of Study ......................................................................................3 The Goals, Organization, and Methodology of the Study............................................5 Figures ........................................................................................................................10 2 BACICCIO AND BERNINI: A RELATIONSHIP OF RECIPROCITY ..................14 The Benefits of Bernini’s Favor .................................................................................15 Portrait Commissions ..........................................................................................17 Frescoes: Sant’Agnese, Santa Marta, and Il Gesù...............................................19 Altarpieces: The Altieri Chapel in San Francesco a Ripa and Sant’Andrea al Quirnale............................................................................................................25 Baciccio’s Role within Bernini’s Grand Design ........................................................26 The Death of Bernini and the Decline of Baciccio.....................................................31 Analysis ......................................................................................................................32 Figures ........................................................................................................................34 3 THE PORTRAITS: BACICCIO’S ADOPTION OF THE “MOMENTARY MANNER” .................................................................................................................47 Bernini’s Portraiture Style ..........................................................................................50 A Psychological Approach to Portraiture...................................................................52 The Dynamic Representation of the Garment ............................................................65 The Veristic Portrait ...................................................................................................66 Analysis ......................................................................................................................67 Figures ........................................................................................................................68 v 4 BACICCIO’S ARTISTIC PRACTICE ......................................................................97 Baciccio and the Business of Art................................................................................99 The Conspicuous Absence of a Fixed Aesthetic ......................................................104 Analysis ....................................................................................................................112 Figures ......................................................................................................................114 5 CONCLUSION.........................................................................................................128 BIBLIOGRAPHY............................................................................................................130 BIOGRAPHICAL SKETCH ...........................................................................................135 vi LIST OF FIGURES Figure page 1.1. Giovanni Battista Gaulli, Triumph in the Name of Jesus, 1676-79 ...........................10 1.2. Giovanni Battista Gaulli, Portrait of Gian Lorenzo Bernini, c. 1673.........................11 1.3. Diego Velázquez, Portrait of Innocent X, 1650 ......................................................12 1.4. Diego Velázquez, Portrait of Innocent X ..................................................................13 1.5. Giovanni Battista Gaulli, Pope Innocent X, 1671.......................................................13 2.1. Giovanni Battista Gaulli, Portrait of Pope Alexander VII, c. 1666-67.......................34 2.2. Giovanni Battista Gaulli, Diana and Endymion, 1668 ...............................................35 2.3. Giovanni Battista Gaulli, A) Faith and Charity, B) Justice, Peace, and Truth, C) Temperance, D) Prudence, 1666-72 .........................................................................36 2.4.Gian Lorenzo Bernini, Fountain of the Four Rivers, 1648-51 ....................................37 2.5. Correggio, the “central view” of the dome, 1526-30..................................................38 2.6. Giovanni Battista Gaulli, nave vault, 1671-72 ...........................................................39 2.7. Giacomo da Vignola and Giacomo della Porta, Façade of Il Gesù, 1575-1584.........40 2.8. Giovanni Battista Gaulli, Virgin and Child with Saint Anne, 1675............................41 2.9. Gian Lorenzo Bernini, Blessed Ludovica Albertoni, 1672-74....................................42 2.10. Gian Lorenzo Bernini, Façade of Sant’Andrea al Quirinale, 1670-71.....................43 2.11. Gian Lorenzo Bernini, detail of head in Blessed Ludovica Albertoni, 1672-74.......44 2.12. Giovanni Battista Gaulli, detail of Saint Anne in Virgin and Child with Saint Anne, 1675................................................................................................................44 2.13. Gian Lorenzo Bernini, detail of hand in Blessed Ludovica Albertoni, 1672-74.......45 vii 2.14. Giovanni Battista Gaulli, detail of the Virgin in Virgin and Child with Saint Anne, 1675................................................................................................................45 2.15. Gian Lorenzo Bernini, detail of the angel in The Ecstasy of Saint Teresa, 1645- 52..............................................................................................................................46 2.16. Giovanni Battista Gaulli, detail of the apse of Il Gesù, after 1679...........................46 3.1. Gian Lorenzo Bernini, detail of the hand in Pope Clement X, 1676 ..........................68 3.2. Gian Lorenzo Bernini, Tomb of Pope Urban VIII, 1628-47.......................................68 3.3. Apulu from the roof of the Portonaccio Temple, Veii, ca. 510-500 BCE...................69 3.4. Sarcophagus of a Married Couple, from Cerveteri, ca. 530-520 BCE ......................70 3.5. Sarcophagus with Reclining Couple from Cerveteri, ca. 520 BCE...........................70 3.6. Giovanni Battista Gaulli, detail of Portrait of Gian Lorenzo Bernini, c. 1673 ..........71 3.7. Gian Lorenzo Bernini, Self-Portrait, 1665 .................................................................72 3.8. Michelangelo, David, 1501-04 ...................................................................................73 3.9. Gian Lorenzo Bernini, David, 1623............................................................................73 3.10. Gian Lorenzo Bernini, Anima Dannata, 1619..........................................................74 3.11. Caravaggio, Boy Bitten by a Lizard, c. 1593-94.......................................................74 3.12. Gian Lorenzo Bernini, Cardinal Scipione Borghese, 1632 ......................................75 3.13. Caravaggio, Boy with a Basket of Fruit, c. 1593-94.................................................76 3.14. Caravaggio, The Musicians, c. 1595.........................................................................76 3.15. Caravaggio, The Lute Player, c. 1595-96 ................................................................76 3.16. Gian Lorenzo Bernini, sketch in black chalk of Cardinal Scipione Borghese, 1632..........................................................................................................................77 3.17. Giovanni Battista Gaulli, Portrait of Cardinal Leopoldo de’Medici, c. 1672-75.....78 3.18. Giovanni Battista Gaulli, Portrait of Clement IX, 1667-69......................................79 3.19. Carlo Maratti,
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