Giovanni Domenico PIESTRINI (Piastrini, Pistrini, Pestrini)

Giovanni Domenico PIESTRINI (Piastrini, Pistrini, Pestrini) by Rita Randolfi - Biographical Dictionary of Italians - Volume 83 (2015) He was born in Pistoia on September 4, 1680 by Francesco Maria of Arezzo origin, painter and his first teacher. It is not known exactly the surname of the artist, who sometimes signs Pistrini talaltra Pestrini. In the States of Anime it is registered as Pistrini, while in the acts of birth and death it is remembered as Piestrini. Sometimes the name has been crippled in Piastrini (Esuperanzi, 1987, p.76). The father, a pupil of Salvator Rosa, was mainly active in Pistoia, where he painted a panel with S. Nicola da Tolentino for the destroyed church of S. Lorenzo and decorations both for the complex of S. Mercuriale, today the seat of the Pretura and Conciliation , both in the cloister, in the Chapter and in some rooms of the convent of the Ss. Annunziata, lost. For the works in the cloister, festoons supported by giants found in 1815 and then deteriorated, Francesco Maria involved his son, who presumably lived from birth (documented from 1696) until 1704 with his family near the parish of St. John the Evangelist Fuorcivitas . In 1697, 1698 and 1701 Piestrini was absent from his hometown (Esuperanzi, 1987, p.76). Piestrini continued his apprenticeship in Florence (Pius, 1724, 1977, page 90) or Pisa (Marrini, 1765-66, II, p.11) with the Sienese Giuseppe Nicola Nasini, who was also a pupil of Ciro Ferri. According to Nicola Pio, in Florence Piestrini met his patron, as well as countryman: cardinal Carlo Agostino Fabroni, who facilitated his transfer to Rome in 1702. Here the prelate hosted his protege in his palace located on the slopes of the Campidoglio, where Piestrini remained at least until 1719, as recorded in the States of Souls of the parish of the Saints Venanzio and Ansuino. At that time he received a monthly commission (Cola, 2011, p.89). However, it should be noted that Giuseppe Nicola Nasini and cardinal Fabroni met in Rome as part of the frequent visits of the Albani household. The two met surely during the delivery of one of Nasini's paintings for the church of Propaganda Fide, of which the cardinal was secretary. Fabroni also commissioned the son of Nasini, Apollonio, to copy the Transit of s. Galgano by Francesco Vanni for his collection (Cola, 2011, p.84). It is not excluded, therefore, that it was the same high ecclesiastical dignitary to put in contact his protege, probably already known in Pistoia, with Nasini. In Rome Piestrini attended the workshop of Benedetto Luti, revealing himself also open to the stimuli that came from other artists in the city, such as Pietro Bianchi, Giacomo Triga, Giovanni Paolo Pannini and Placido Costanzi. The relationship with Luti was certainly facilitated by the common origin of Pistoia and by the intervention of Fabroni himself, who esteemed Piestrini to the point of possessing three paintings: a Madonna, a Savior and a portrait of himself (Cola, 2011, p.85). With the sanguine Romulus and Remus made adults persecute and kill the thieves, Piestrini won the third prize of the second class ex aequo with Giovanni Battista Calandrucci in the clementine competition of the Academy of St. Luca of 1704. The following year he obtained the second prize of the first class with the black pencil drawing representing the Rape of the Sabines, ex aequo with Ludovico Mazzanti. In 1706 Fabroni, raised to the purple by Clement XI, and his cousin, the Duke Rospigliosi, led Piestrini to return to Pistoia to obtain the assignment of a Coronation of the Virgin for the ceiling of the church of the Trinity, which was destroyed. A little later he executed the altarpiece with St. Philip, who gave help to a castaway for the church of Ss. Prospero and Filippo. Marrini also remembers how Cardinal Fabroni had sent his protégé to Pistoia to paint a room in his villa in Celle in the Santomato area, but no trace of these works remains (Marrini, 1765-66, II, page XII). In 1712 Piestrini was welcomed as a member of the Congregation of Virtuosi al Pantheon (Esuperanzi, 1987, p.78). Of 1714 are The Pilgrim Theocles delivers the image of the Blessed Virgin to the bishop of Bologna and his pendant, The recovery of the table stolen by the Venetians for the church of Our Lady of St. Luke, now placed in the left sacristy of the shrine of the Virgin of S. Luca di Bologna, signed and dated, in which Piestrini proves to have assimilated Luti's lesson but not to be immune from the formal delicacies of the Emilia and Venetian colorism probably learned in Rome through Francesco Trevisani. Also emerges the adherence to fashion of the time thanks to the presence of costumed characters. For Fabroni Piestrini he also painted the painting with S. Giovanni Guadalberto that multiplies bread and wine to distribute them to the poor, for the church of the Vallombrosani fathers of S. Trinita in Florence, signed and dated 1714, and an altar table, dispersed, with the Annunciation for the church of S. Iacopo of the fathers of the Mission. It should be emphasized that the intermediary between Piestrini and the Vallombrosani was, again, Cardinal Fabroni, who since 1709 had played the role of protector of the Congregation. In 1716 Piestrini frescoed in the atrium of the church of the Madonna dell'Umiltà of Pistoia, the miracle of 1490, the imploring of the faithful in front of the image of the Madonna, the construction of the new temple and the translation of the image from the ancient church at the altar of the sanctuary, the only works, among those commissioned by Fabroni, to survive. The task was due to the solemn coronation of the Holy Image of Our Lady of Humility. The scenographic structure of the stories and the narrative taste reveal the link with the Tuscan environment, in particular with Cigoli. The balance for these works was issued in 1720 by the Banco di S. Spirito. Between 1716 and 1717 Piestrini executed a lost painting, but remembered by Nicola Pio, for the Roman church of S. Maria della Pace (1724, p.91). The definitive consecration in the Roman environment arrived in those years with the pontifical commission, obtained thanks to the intermediation of Fabroni, of the St. Ignatius condemned to death by the emperor Trajan, for the central nave of the Basilica of St. Clement in Rome, of there is a preparatory painting, decidedly more dynamic and less rhetorical than the finished work, in the Castelbarco Albani collection in Milan. Another sketch was donated in 1999 by Fabrizio and Fiammetta Lemme to the National Gallery of Ancient Art of Palazzo Barberini in Rome. In 1717 the Vallombrosani di S. Prassede of Rome commissioned him, due to the interest of Fabroni, the Martyrdom of S. Tesauro Beccaria, signed and dated, for the chapel of S. Bernardo degli Uberti. The unusual iconography with the shoulder manigold, instead of next to the saint, manifests the creative vein of Piestrini, which accentuated the pathos of the episode by resorting to the intense luministic effects taken from his teacher Luti. In The Presentation of Mary at the Temple, also signed and dated 1717, for the Forlì Cathedral, the costumed characters, the golden light and the delicate colors denote influences from the other artists present in Rome, in particular Luca Giordano. Again between 1716 and 1717 the Patricians called Piestrini to decorate the room of Mars and the vault of the main staircase of their villa on the Salaria, completely destroyed. A maturation of Piestrini's language in the Marattesca direction, though less refined in design and in the rendering of colder color, is found in the ovals with the Madonna del Rosario and Christ resurrected appears to the apostles, executed between 1721 and 1725 on behalf of the cardinal Benedetto Pamphili for the church of S. Maria in via Lata. Piestrini is supposed to have also painted the Redeemer and St. Ignatius in the church of S. Sisto in Pisa, in which the same iconography of the Risen Christ can be found in the painting of S. Maria in via Lata. In the same city, but for the church of Santa Maria del Carmine, he painted The Virgin in glory with Saint Joseph, Saint Victoria and Saint Ranieri (2014 restoration of Lisa Venerosi Pesciolini under the supervision of Alba Maria Macripò). In 1722 and 1723 the candidacy of Piestrini as a member of the prestigious Academy of St. Luca was not accepted, and he was never part of that important institution. Between 1723 and 1724 the fathers served, with whom already in Pistoia Piestrini had maintained excellent relations, taking advantage of the conspicuous legacy of the Order's theologian, Gherardo Capassi of Florence, commissioned him to fresco the vault of their church of S. Maria in Via. After having done two preparatory sketches, lost, probably at the suggestion of the same fathers, Piestrini represented the unprecedented episode of the First Mass of S. Filippo Benizi, canonized only a few years earlier, in 1671. The work, much admired by contemporaries, is one of the first examples of the introduction of architectural elements that mark the space of the scene, inside the decoration of the past. Piestrini proposed a synthesis between the baroque teachings of Pietro da Cortona and the lightness of a typically rococo touch (Esuperanzi, 1987, pp. 70 s., 79). Today the fresco is depleted by subsequent restoration works that have removed its original freshness. In the moment of maximum prestige achieved by the Conti family, who had seen a member become a pope, the duke of Poli, brother of Innocent XIII, commissioned Piestrini to decorate the vault of a room in his palace.

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