Bernini and the Roman Baroque Paintings from Palazzo Chigi in Ariccia

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Bernini and the Roman Baroque Paintings from Palazzo Chigi in Ariccia TRAVELING EXHIBITION SERVICE 1 2 3 4 5 6 The term Baroque connotes an Lorenzo Bernini, this exhibition “A rare man and sublime EXHIBITION SPECIFICATIONS abundance of detail, a sense illuminates Bernini’s influence talent, he was born for of irregularity, and a sort of and explores how it resonated Number of Works Bernini and the glory of Rome with the eccentric redundancy—all across the Baroque movement. 55 paintings, engravings, sculptures, and decorative objects Divine Disposition to bring emblematic of an extraordinary the Roman Bernini and the Roman Baroque light to that century.” generation of artists who Organized by Baroque comprehensively maps the rich Glocal Project Consulting Domenico Bernini, converged in Rome at the dawn spectrum of genres and pictorial Curator Life of the Cavalier Gio. Lorenzo Bernini, 1713 of the seventeenth century. styles that characterize Baroque Francesco Petrucci, Chief Curator, This artistic style became a Palazzo Chigi in Ariccia; and FRONT Carlo Maratti, called "Il Maratta" and Mario aesthetics. Its many luminous Nuzzi, called "Mario del Fiori", The Summer, 1658-59, oil cultural phenomenon, spreading Dominique Lora, Assistant Curator for on canvas, Palazzo Chigi, Ariccia 1 Giuseppe Cesari, called examples of these diverse Glocal Project Consulting "Cavelier d'Arpino", Orpheus and Eurydice, 1620-25, oil on concurrently from Naples to canvas, Palazzo Chigi, Ariccia 2 Gian Lorenzo Bernini and categories—not only history Requirements Gioacchino Francesco Travani, Medal with the Collegiate Venice, Vienna to Prague, and painting but also alternative High security; 200-250 linear feet Church of the Assumption in Ariccia, 1662, gilded bronze, Bohemia to St. Petersburg, Palazzo Chigi, Ariccia 3 Pier Francesco Mola, Bacchus, genres such as portraiture, self- 1662-66, oil on canvas, Palazzo Chigi, Ariccia 4 Ferdinand finally assuming its full global Shipping Voet, Portrait of Cardinal Flavio Chigi, 1670, oil on canvas, portraiture and landscaping, IA&A makes all arrangements; Palazzo Chigi, Ariccia 5 Ciro Ferri, Saint'Ivo distributes the dimensions when it reached the Charity, 1660-70, oil on canvas, Courtesy of Collection as well as preparatory sketches exhibitors pay outgoing shipping Fagiolo, Palazzo Chigi, Ariccia 6 Giovan Battista Salvi, "the Americas. costs within the contiguous US Sassoferrato", Saint Lucy, 1630-40, oil on canvas, Courtesy used for large decorative of Collection Fagiolo, Palazzo Chigi, Ariccia Bernini and the Roman Baroque: frescoes—epitomize Baroque’s Booking Period 12 weeks Paintings from Palazzo Chigi ultimate goal of elevating in Ariccia explores the genesis Tour International Arts & Artists the viewer in mind and soul, January 2021– June 2022 of this one-of-a-kind artistic communicating the moral 9 Hillyer Court, NW Publication movement. Through a selection Washington, DC 20008 and spiritual messages of the Bernini and the Roman Baroque: of 55 works from 40 artists, 202.338.0680 Catholic Church. Paintings from Palazzo Chigi in Ariccia by Francesco Petrucci www.ArtsandArtists.org including 10 works by Gian .

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Reviews to Be Completed by Visits to His Frescoes in Coldrerio and Rome, Nettuno and Viterbo
a few of his Roman altarpieces, but the experience had Reviews to be completed by visits to his frescoes in Coldrerio and Rome, Nettuno and Viterbo. The biggest lacuna for this writer was the absence of any visual reference, except a small sketch for the figure of the saint (cat. no. III.71), Pier Francesco Mola, 1612-1666. to Mola's last masterpiece, the Vision of St. Bruno (Malibu, TheJ. Paul Getty Museum) of 1662-63. If the Exhibition catalogue by Giuliano Briganti et al., 1989-90 (Museo Cantonale d'Arte, Lugano and Musei Capitolini, Rome). painting could not be included in the exhibition, it Drawings catalogued by Nicolas Turner with additional essays should have been a priority to illustrate it in the catalogue by Marcel Roethlisberger and Manuela Kahn-Rossi. 356 pp., numerous black and white illus., 63 color plates. and one of the more elaborate related preparatory studies should have appeared as a stand-in (Turner is right to The exhibition devoted to Pier Francesco Mola in the suspect that the drawing in the Stadelsches Kunstinstitut, fall and winter of 1989-90 had two venues: Lugano, Frankfurt, Inv. no. 423, is a copy). As it was, Mola's near the artist's birthplace, Coldrerio; and Rome, where career seemed to peter out in a flurry of mordant, self- he was raised as a child and eventually settled for the last mocking caricatures. The results of several important two decades of his life. A team of scholars was assembled recent discoveries could be incorporated into the cata- to do justice to his achievements.
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Gallery Labels and Photos
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Pier Francesco Mola, 1612–1666, Lugano, Musée Cantonal, Rome, Museo Capitolino, 23.IX.1989 – .I.1990
Neil Jeffares, Dictionary of pastellists before 1800 Online edition MOLA, Pier Francesco J.5406.104 Tête de Bacchus, cr. clr (Weimar, J.5406.114 Head of a youth, profile, pstl, 64.8x54 Coldrerio 9.II.1612 – Rome 13.V.1666 SWKK). Lit.: Monbeig Goguel 2009, fig. 4 ϕ (Livio Odescalchi, inv. 1713, no. 1492). Lit.: Prolific religious painter, engraver and Roethlisberger 1986, p. 22 n.r. draughtsman. His teachers included cavaliere J.5406.115 Testa, pstl (Cardinale Giovanni Battista d’Arpino and Francesco Albani. Based in Rome Costaguti, Rome, inv. 31.I.1715) from 1641, he previously worked in Bologna J.5406.116 Testa, pstl (Abate Giuseppe Paolucci, and Lucca and studied in Venice (as is evident Rome, inv. 8.III.1695) in his palette). He was influenced by Guercino’s Anon. related pastels concepts of light and shade. It seems most likely J.5406.118 Testa di donna, pstl, a/r Mola (Donato that the “pastels” in these mainly seventeenth Fini, Rome, inv. 10.VII.1692) century inventories were chalk drawings. Monographic exhibitions Mola 1989: Pier Francesco Mola, 1612–1666, Lugano, musée cantonal, Rome, Museo Capitolino, 23.IX.1989 – .I.1990. Cat. M. Rossi-Kahn & al. Bibliography Bénézit; Cocke 1972; V. Martinelli, “Nuovi J.5406.105 Tête d’homme, pierre noire, pstl/ppr ritratti di G. Abbatini e di Pierfrancesco Mola”, bl., 35x23.3 (London, Christie’s, 26.XI.1968, Commentant, IX, 1958; Monbeig Goguel 2009, p. Lot 99. Hugh Squire, London; London, 36 Sotheby’s, 28.VI.1979, Lot 87, as Giacomo Cavedone; Jacques Petithory; acqu. Christian Pastels & Isabelle Adrien 1982; Paris, Sotheby’s, J.5406.101 AUTORITRATTO, chlk, pstl/ppr, 22.III.2018, Lot 6 repr., as by Mola, est.
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