Francesco Albani [PDF]

Total Page:16

File Type:pdf, Size:1020Kb

Francesco Albani [PDF] Francesco Albani Oil Paintings Francesco Albani [Italian, 1578-1660] Adonis Led by Cupids to Venus, detail of cupids 1600, Musee du Louvre, Paris Oil Painting ID: 20037 | Order the painting The Baptism of Christ 1630-1635, oil on canvas, Musee des Beaux-Arts, Lyons Oil Painting ID: 20038 | Order the painting The Holy Family (Sacra Famiglia) 1630-35, oil on canvas, Galleria Pitti, Florence Oil Painting ID: 20039 | Order the painting Venus Attended by Nymphs and Cupids 1633 Oil on canvas 44 7/8 x 67 1/4 inches (114 x 171 cm) Museo del Prado, Madrid, Spain Oil Painting ID: 21557 | Order the painting Diana and Actaeon 1625 - 1630 Oil on wood transferred to canvas 29 1/4 x 39 1/8 inches (74.5 x 99.5 cm) Gemaldegalerie, Dresden, Germany Oil Painting ID: 21558 | Order the painting Autumn 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21559 | Order the painting 1/2 Spring 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21560 | Order the painting Summer 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21561 | Order the painting Winter 1616 - 1617 Oil on canvas Galleria Borghese, Rome, Italy Oil Painting ID: 21562 | Order the painting Assumption Of The Virgin Oil on copper 19 3/4 x 15 inches (50.2 x 38.3 cm) Private collection Oil Painting ID: 21563 | Order the painting Total 2 pages, 1/2 | Page : [1] 2 Albani, Francesco (Nationality : Italian, 1578-1660) Francesco Albani, Italian, 1578-1660 • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-12-1.html 2/2.
Recommended publications
  • The Building of Palazzo Pamphilj
    The building of Palazzo Pamphilj Author: Stephanie Leone Persistent link: http://hdl.handle.net/2345/bc-ir:107932 This work is posted on eScholarship@BC, Boston College University Libraries. Published in Palazzo Pamphilj: Embassy of Brazil in Rome, pp. 15-67, 2016 These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publicat PALAZZO PAMPHILJ Embassy of Brazil in Rome UMBERTO ALLEMANDI The Building of Palazzo Pamphiij STEPHANIE LEONE he Palazzo Pamphilj overlooks the Piazza Navona, one of the largest and most celebrated public spaces in T Rome that is situated at the heart of the historical centre (fig. I). The monumental palace stretches for eighty ,five metres along the Western flank of the piazza from the Southern corner coward the Northern end. The exceptionally long fapde is organised into a symmetrical sequence of bays with a projecting central section and is buttressed, at the North end, by a distinct fapde with a large serliana win, dow (an arch with crabeaced sides). The exterior boasts a profusion of ornament that enlivens the surface and punctuates the horizontality of the building. Through sheer scale and abundance of form, the Palazzo Pamphilj bespeaks grandeur and authority. Architecture serves the rhetorical functions of communication and persuasion. In the early modem period (ca. 1500-1800), palaces in particular became synonymous with the statm of their owners. Today, the Palazzo Pamphilj houses the Embassy of Brazil in Rome, but until the government ofBrazil purchased the palace in 1960, it had belonged to the Pamphilj family.
    [Show full text]
  • Domenichino's Scenes from the Life
    DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................
    [Show full text]
  • BAMBOCCIANTI SCHOOL (Before 1650)
    THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com BAMBOCCIANTI SCHOOL (before 1650) A Shepherd Boy in a Landscape Oil on canvas 70 x 60 cm PROVENANCE Baron Vetter von der Lilie, Hautzenbichl Castle, Knittenfeld, Austria; from whom purchased by the previous owner in 1950 The Bamboccianti were genre painters active in Rome from about 1625 until the end of the seventeenth century. Most were Dutch and Flemish artists, including Andries and Jan Both, Karel Dujardin, Jan Miel and Johannes Lingelbach, who brought existing traditions of depicting peasant subjects from sixteenth-century Netherlandish art with them to Italy. The name, meaning ‘ugly doll’, derived from the nickname of Pieter van Laer, credited with initiating the Bamboccianti School, due to his ungainly proportions. In Rome during this period, the work of the Bamboccianti School served as an important countermovement which eschewed the lofty subject matter and grand scale of the conventional art of the time. Artists such as Salvator Rosa lamented that the city had been invaded by a group of painters whose works represented “nothing but rogues, cheats, pickpockets, bands of drunks and gluttons, scabby tobacconists, barbers, and other sordid subjects”1. Rosa was outraged that 1 Levine, David A. (December 1988). "The Roman Limekilns of the Bamboccianti". The Art Bulletin (College Art Association) 70 (4): 569–589 Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219.
    [Show full text]
  • Caravaggio & the Knights of Malta
    CARAVAGGIO & THE KNIGHTS OF MALTA DAVID M. STONE, Ph.D., is Associate Professor in the Department of Art History at the University of Delaware. An authority on Caravaggio and Guercino, he has received many generous fellowships, including an Andrew W. Mellon Post-Doctoral Rome Prize at the American Academy in Rome; an Andrew W. Mellon Senior Fellowship at the Metropolitan Museum of Art, New York; and a Membership at the Institute for Advanced Study, Princeton. Among his many publications are: Guercino, Master Draftsman: Works from North American Collections (1991); Guercino, catalogo completo dei dipinti (1991); “The Context of Caravaggio’s Beheading of St John in Malta” (1997); and “In Figura Diaboli: Self and Myth in Caravaggio’s David and Goliath” (2002). Prof. Stone participated in the exhibition Caravaggio: The Final Years (Naples–London, 2004–2005); and Caravaggio and Paintings of Realism in Malta (Malta 2007). With Keith Sciberras, he recently published an important monograph on Caravaggio’s Malta period: Caravaggio: Art, Knighthood, and Malta (Midsea Books, 2006). He resides in Philadelphia, Pennsylvania. KEITH SCIBERRAS, Ph.D., is Senior Lecturer in History of Art at the University of Malta. He has published extensively on the subject of Caravaggio, Roman Baroque sculpture, and 17th- and 18th- century painting in Malta. He has been the recipient of several grants and awards, including an Andrew W. Mellon Senior Fellowship in the Department of European Paintings, Metropolitan Museum of Art, New York, and a National Book Prize for Research (Malta 2007). His numerous publications include: Roman Baroque Sculpture for the Knights of Malta (2004); Melchiorre Cafà: Maltese Genius of the Roman Baroque (as editor; 2006); Caravaggio and Paintings of Realism in Malta (as editor, 2007) ; and several articles, including: “‘Frater Michael Angelus in Tumultu’: The Cause of Caravaggio’s Imprisonment in Malta” (2002); and “Riflessioni su Malta al tempo del Caravaggio” (2002).
    [Show full text]
  • PIER FRANCESCO MOLA Coldrerio, 1612 – Roma, 1666
    PIER FRANCESCO MOLA Coldrerio, 1612 – Roma, 1666 Giornata celebrativa in occasione del quarto centenario della nascita del pittore Giovedì 9 febbraio 2012 Comune COLDRERIO di Coldrerio chiesa della madonna del carmelo, coldrerio Pier Francesco, Giovanni Battista Georg Friedrich Haendel (1685-1759) e Giacomo Mola: un dialogo tra arte Languia di bocca lusinghiera, HWV 123 15:00 Visita guidata agli affreschi e architettura per soprano, violino, oboe e basso continuo di Pier Francesco Mola Jörg Zutter e Adriano Amendola, Recitativo: Languia di bocca lusinghiera Gabriella e Giuseppe Solcà, Accademia di architettura, Università Aria: Dolce bocca, labbra amate autori del libro I Mola di Coldrerio della Svizzera italiana Triosonata I in si bemolle maggiore, 19:30 Pausa e buffet HWV 380 accademia di architettura di mendrisio, 20:30 Ripresa per oboe, violino e basso continuo palazzo canavée Adagio, Allegro, Largo, Allegro Saluto 18:00 Apertura Corrado Solcà, Sindaco di Coldrerio Carlo Rainaldi (1611-1691) Dalla cantata Pallido, muto Saluto Appunti su I Mola di Coldrerio per soprano e basso continuo Andrea Luisoni, Capo Dicastero Cultura, Gabriella e Giuseppe Solcà (prima rappresentazione in Svizzera) Comune di Coldrerio Recitativo: Pallido, muto Mario Botta, Direttore Accademia 20:45 - 21:30 Concerto Ritornello: Datti pace di architettura, Università della Svizzera italiana Apoteosi del barocco romano: Antonio Vivaldi (1678-1741) Cantate italiane, sonate in trio Dal Gloria, RV 589 Roma al tempo di Mola: la città, e musica liturgica per soprano,
    [Show full text]
  • Felsina Pittrice LIVES of the BOLOGNESE PAINTERS
    CARLO CESARE MALVASIA’S Felsina pittrice LIVES OF THE BOLOGNESE PAINTERS Published for the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington Harvey Miller Publishers An Imprint of Brepols Publishers THE FELSINA PITTRICE Count Carlo Cesare Malvasia’s Felsina pittrice, or Lives of the Bolognese Painters, first published in two volumes in Bologna in 1678, is one of the most important sources for the history and criticism of painting in Italy. Conceived in part as a response to Giorgio Vasari’s Le vite de’ più eccellenti pittori, scultori e architettori (1550/1568), the Felsina pittrice combines close observation with documentary history, and careful analysis with polemical debate. It offers the fullest account of Bolognese artists from Simone dei Crocefissi to Prospero and Lavinia Fontana, from Guercino to Elisabetta Sirani. The Carracci are treated as a family of artists, and their school (including Guido Reni, Domenichino, and Francesco Albani, among others) is documented by Malvasia in far greater detail than by any other biographer. The great art historian Luigi Lanzi (1732- 1810) said that no other school in Italy had been described by a more capable pen, and he considered the two volumes of the Felsina pittrice to be “a treasure of the most beautiful knowledge gathered from the pupils of the Carracci, whom Malvasia knew, and who helped him in this work, which was, however, accused of sometimes burning with an excessively patriotic zeal.” 2. THE CRITICAL EDITION Accusations of excessive passion for his local school, combined with unjustified charges of forgery and unreliability, have for centuries clouded the reception and understanding of Malvasia’s extraordinarily important text, which was last edited and published in 1841-44.
    [Show full text]
  • Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom Brigham Young University
    Brigham Young University BYU ScholarsArchive All Theses and Dissertations 2018-04-01 Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons BYU ScholarsArchive Citation Wixom, Tiffany Nicole, "Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna" (2018). All Theses and Dissertations. 6741. https://scholarsarchive.byu.edu/etd/6741 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in All Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Martha M. Peacock, Chair Elliott D. Wise James R. Swensen Department of Comparative Arts and Letters Brigham Young University Copyright © 2018 Tiffany Nicole Wixom All Rights Reserved ABSTRACT Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna Tiffany Nicole Wixom Department of Comparative Arts and Letters, BYU Master of Arts Domenichino (1581-1641), a Bolognese artist, painted a unique interpretation of Ovid’s myth of the goddess Diana and mortal hunter Actaeon in 1616 titled, Archery Contest of Diana and her Nymphs. This image depicts the goddess and her nymphs actively engaged in various activities. This portrayal is drastically different from common depictions of the time period, in which the goddess is portrayed as vulnerable, weak, and subjected to male voyeurism.
    [Show full text]
  • Dutch Artists in Italy
    THE ROYAL COLLECTION TRUST Dutch Landscapes The Dutch artists in Italy In The Foundation of the Noble, Free Art of Painting , 1604, Carel van Mander describes Rome as ‘the city where before all other places the Painter’s journey is apt to lead him, since it is the capital of Pictura’s Schools; but it is also the right place for spendthrifts and prodigal sons to squander their money.’ He goes on to say that ‘one must fall in love with the beauty of that land and with the Italian people … on the whole they are neither treacherous nor thievish but subtle and very polite, even though they are loud- mouthed and tight-fisted.’ Paintings such as Karel du Jardin’s A Muleteer and Two Men Playing the Game of Morra reflect the ambivalent view that many Dutch artists had of their new surroundings. Karel du Jardin, A Muleteer and Two Men Playing the Game of Morra , Most northern travellers experienced a mix of wonder and fear c.1650 -52 when considering Rome and of fascination and disillusionment upon arrival. What initially met those who made the journey to the city was the disabitato , the ‘rubble-belt’, the two-thirds of the area of the ancient city of Rome that was without human habitation. These chaotic surroundings would have offered a stark contrast to the tightly-packed, walled cities of Holland, which were expanding according to careful plans. At the same time, however, Rome was undergoing a process of transformation at the hands of the great ‘town- planning’ Popes – Sixtus V (1585-90), Paul V (1605-21), Urban VIII (1623-44), Innocent X (1644- 55) and Alexander VII (1655-67) – and the creation of the Roman Baroque.
    [Show full text]
  • The Head of a Young Woman Looking Upwards Black and Red Chalk, with Touches of White Chalk, on Pale Brown Paper
    Guido RENI (Calvenzano 1575 - Bologna 1642) The Head of a Young Woman Looking Upwards Black and red chalk, with touches of white chalk, on pale brown paper. Inscribed No 35, Reni Guido and 1609 no 23 Guido Reni at the bottom of the sheet. Further inscribed Raccolta di S.M.G. San Germano on the former backing sheet. 377 x 270 mm. (14 7/8 x 10 5/8 in.) ACQUIRED BY THE MUSEUM OF FINE ARTS, HOUSTON, TEXAS. Guido Reni often produced individual, large-scale chalk drawings of heads as studies for the figures in his paintings. The present sheet was first published, as a work of Reni’s Roman period, by the late Stephen Pepper in 1981, and the attribution has since been confirmed by Babette Bohn and other scholars. While the drawing is not related to any surviving work by the artist, Pepper suggested that the 17th century inscription ‘Raccolta di S.M.G. San Germano’ on the old backing sheet may refer to a certain Bartolo di Villa San Germano, a figure mentioned in an interesting passage in Malvasia’s biography of Reni. As Malvasia relates, ‘Guido also gave works by his hand to whomever he found pleasing, and whomever, by showing they were disinterested, won him over...[including] a very lovely little Madonna for a certain Bartoli of Villa di S. Germano in the diocese of Rimini, a very handsome robust old man 105 years old, whose venerable head Guido painted a good eight times; but the painting was wickedly taken away from him by a gentleman in the Roman countryside, where he, Bartoli, was showing it to everyone and receiving incredible alms for it.’ The present sheet may perhaps be related to this now-lost Madonna, although this can only be conjecture.
    [Show full text]
  • Gallery Notes
    Gallery Notes JOHN MITCHELL FINE PAINTINGS LONDON November 2010 Gallery Notes is published to acquaint readers with the paintings and drawings offered for sale by JOHN MITCHELL FINE PAINTINGS 44 O LD BOND STREET , L ONDON W1S 4GB TEL : +44 (0)20 7493 7567 F AX : +44 (0)20 7493 5537 [email protected] www.johnmitchell.net FOREWORD In publishing we often forfeit the space for text with illustrations - as faithful and as large Gallery Notes, as possible. The accompanying captions hopefully provide some relevant biographical information ‘varnished’ with a thin layer of art history, where applicable! Putting together a selection of new acquisitions for sale often entails considerable research, especially with artists unfamiliar to us or whose work appears infrequently on the art market. The preference and style of often tends to focus on the context and merit of the Gallery Notes corresponding picture or drawing within the painter’s œuvre and, space permitting, we try to include as much up to date research as possible. Above all, our own individual interpretation is offered as guidance and, we trust, an alternative to ‘write-ups’ in standard reference books and websites. The pictures by Lagrenée, Voet and Ward have all emerged from private collections and present the chance to learn yet more about the lives of these painters who appear to have worked almost exclusively from one commission to the next with little let-up. In fact all the painters represented here were acknowledged specialists in their genre and (p.7) probably meant as much to its owner, in the flesh as well as in oil (! ), as Lagrenée’s Worthy devotional (p.3) did to the many generations of Rochefoucaulds.
    [Show full text]
  • Observing Protest from a Place
    VISUAL AND MATERIAL CULTURE, 1300-1700 Bohn & Morselli (eds.) Edited by Babette Bohn and Raffaella Morselli Reframing Seventeenth-CenturySeventeenth-century Bolognese Art Archival Discoveries Reframing Seventeenth-Century Bolognese Art Bolognese Seventeenth-Century Reframing FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Reframing Seventeenth-Century Bolognese Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the National Endowment for the Humanities, the American Association of University Women, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Reframing Seventeenth-Century Bolognese Art Archival Discoveries Edited by Babette Bohn and Raffaella Morselli Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Guido Reni, Portrait of Cardinal Bernardino Spada, Rome, Galleria Spada, c.
    [Show full text]
  • Gallery Labels and Photos
    Gallery Private Patronage in Italy, 1600-1700 While the papacy was financing an ambitious array of public projects in 17th-century Rome, such as Bernini’s colonnade for St. Peter’s Basilica, a market was also emerging among private patrons for smaller, more personal works of art. Members of the papal entourage, as well as the rising classes of bankers, merchants, and civil servants, were clamoring to assemble their own collections with art by the leading painters of the day. Though Francesco Albani had executed several large altarpieces as a younger artist in Bologna, he earned a reputation as a painter of cabinet pictures during his mature years in Rome. Pietro da Cortona was known for his magnificent fresco cycles, but he also produced easel paintings for privileged clients. The archaizing painter Sassoferrato built a career almost exclusively on commissions for pictures of moderate dimensions for private residences. The diverse backgrounds and interests of the new patrons also permitted a wider range of subject matter than was customary in the art of Counter-Reformation Italy. Small pictures often depicted tales from Greek and Roman mythology, and religious pieces took on a more devotional and intimate scale, as seen in the paintings of Carlo Dolci and Francesco Furini. Such works were also coveted by collectors outside Italy, such as Lord Arundel, a British diplomat under King Charles I, whose collection formed the foundation of the Ashmolean Museum in Oxford. The Docent Collections Handbook 2007 Edition Carlo Dolci, attributed to Italian, 1616-1687, active in Florence The “Blue” Madonna, c. 1670 Oil on canvas Bequest of John Ringling, 1936, SN 136 In this painting the popular subject of the Madonna of Sorrows, or Mater Dolorosa, is endowed with a physical presence and simplicity that has affected many pious viewers.
    [Show full text]