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Baldassare De Caro
anticSwiss 30/09/2021 09:17:08 http://www.anticswiss.com Baldassare De Caro FOR SALE ANTIQUE DEALER Period: 18° secolo - 1700 Luxury Art Gallery Vattaro Style: Alta epoca 393457682034 Height:33.5cm Width:39cm Material:olio su tela Price:1500€ DETAILED DESCRIPTION: Baldassarre De Caro (1689 - Naples, 1750) was an Italian painter of the Neapolitan school. Student of Andrea Belvedere, as his first recalls His biographer Bernardo de Dominici, [1] Baldassarre De Caro is part of a large group of painters of the Neapolitan school, specialized in still life. Among these stand out Paolo Porpora (1617–1673), Nicola Casissa (died in 1731) and Giovan Battista Ruoppolo (1629–1693). They had meditated on the Caravaggesque lesson and their works strongly bore its imprint. Baldassarre De Caro's first creations had triumphs of flowers; he then went on to paint trophies of game, animals - birds in particular - and also religious subjects. He was a painter appreciated and supported by the court of Naples. Cacciagione, a canvas that bears his signature in full, is preserved in the Museum of San Martino, likewise another of his paintings, on the same subject, but which is signed with the initials only. Cacciagione on a landscape background and another Cacciagione are at the (Pinacoteca provinciale di Salerno); the vase with a flower trophy is at the Gallerie di palazzo Zevallos, in Naples and Natura morta con il rooster is in the Queen's apartment, at the Royal palace of Naples. Giacomo Nani (1698–1755) was inspired by his game paintings. This oil on canvas painting depicting the eagle capturing a duck and one of the classic paintings that the Neapolitan master often loved to make, sometimes even cynical and sadistic. -
The Symbolism of Blood in Two Masterpieces of the Early Italian Baroque Art
The Symbolism of blood in two masterpieces of the early Italian Baroque art Angelo Lo Conte Throughout history, blood has been associated with countless meanings, encompassing life and death, power and pride, love and hate, fear and sacrifice. In the early Baroque, thanks to the realistic mi of Caravaggio and Artemisia Gentileschi, blood was transformed into a new medium, whose powerful symbolism demolished the conformed traditions of Mannerism, leading art into a new expressive era. Bearer of macabre premonitions, blood is the exclamation mark in two of the most outstanding masterpieces of the early Italian Seicento: Caravaggio's Beheading a/the Baptist (1608)' (fig. 1) and Artemisia Gentileschi's Judith beheading Halo/ernes (1611-12)2 (fig. 2), in which two emblematic events of the Christian tradition are interpreted as a representation of personal memories and fears, generating a powerful spiral of emotions which constantly swirls between fiction and reality. Through this paper I propose that both Caravaggio and Aliemisia adopted blood as a symbolic representation of their own life-stories, understanding it as a vehicle to express intense emotions of fear and revenge. Seen under this perspective, the red fluid results as a powerful and dramatic weapon used to shock the viewer and, at the same time, express an intimate and anguished condition of pain. This so-called Caravaggio, The Beheading of the Baptist, 1608, Co-Cathedral of Saint John, Oratory of Saint John, Valletta, Malta. 2 Artemisia Gentileschi, Judith beheading Halafernes, 1612-13, Museo Nazionale di Capodimonte, Naples. llO Angelo La Conte 'terrible naturalism'3 symbolically demarks the transition from late Mannerism to early Baroque, introducing art to a new era in which emotions and illusion prevail on rigid and controlled representation. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
The Business Organisation of the Bourbon Factories
The Business Organization of the Bourbon Factories: Mastercraftsmen, Crafts, and Families in the Capodimonte Porcelain Works and the Royal Factory at San Leucio Silvana Musella Guida Without exaggerating what was known as the “heroic age” of the reign of Charles of Bourbon of which José Joaquim de Montealegre was the undisputed doyen, and without considering the controversial developments of manufacturing in Campania, I should like to look again at manufacturing under the Bourbons and to offer a new point of view. Not only evaluating its development in terms of the products themselves, I will consider the company's organization and production strategies, points that are often overlooked, but which alone can account for any innovative capacity and the willingness of the new government to produce broader-ranging results.1 The two case studies presented here—the porcelain factory at Capodimonte (1740-1759) and the textile factory in San Leucio (1789-1860)—though from different time periods and promoted by different governments, should be considered sequentially precisely because of their ability to impose systemic innovations.2 The arrival of the new sovereign in the company of José Joaquin de Montealegre, led to an activism which would have a lasting effect.3 The former was au fait with economic policy strategy and the driving force of a great period of economic modernization, and his repercussions on the political, diplomatic and commercial levels provide 1 For Montealegre, cf. Raffaele Ajello, “La Parabola settecentesca,” in Il Settecento, edited by Giovanni Pugliese Carratelli (Naples, 1994), 7-79. For a synthesis on Bourbon factories, cf. Angela Carola Perrotti, “Le reali manifatture borboniche,” in Storia del Mezzogiorno (Naples, 1991), 649- 695. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
Review of the Year 2012–2013
review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way. -
Nature in the Spotlight European Still Life 1600-1700 Nature in the Spotlight European Still Life 1600-1700
Nature in the Spotlight European Still Life 1600-1700 Nature in the Spotlight European Still Life 1600-1700 Nature in the Spotlight European Still Life 1600-1700 Valentina Rossi and Amanda Hilliam DE LUCA EDITORI D’ARTE Nature in the Spotlight European Still Life 1600-1700 Lampronti Gallery 4-11 July 2014 from 9.30 am to 6 pm Exhibition curated by Acknowledgements Valentina Rossi Mike Bascombe, the staff of Ciaccio Broker, Barbara De Nipoti, Amanda Hilliam Michele Ferrari, the staff of Itaca Transport, Giancarlo Sestieri, the staff Simon Jones Superfreight. Catalogue edited by Valentina Rossi This exibition is held during the London Art Week (4-11 July 2014) Essays and catalogue entries by Amanda Hilliam Valentina Rossi Photographer Mauro Coen LAMPRONTI GALLERY p. 2: Fig. 1. Gaspare Lopez, Still life with a of flowers and a silver platter, 44 Duke Street, St James’s oil on canvas, 36.3 x 23.5 cm London SW1Y 6DD Via di San Giacomo 22 p. 6: Fig. 2. Abraham Brueghel, Antonio Amorosi, Still life with fruits in a 00187 Roma landscape with a female figure and two boys, oil on canvas, 107 x 161 cm [email protected] pp. 8-9: Fig. 3 Maximilian Pfeiler, [email protected] Still life with flowers and fruits in a gar- www.cesarelampronti.com den against an architectural backdrop, oil on canvas, 127 x 177 cm Contents 7 Introduction CESARE LAMPRONTI 10 Milan, Rome, Toledo: the Archaic Season in Still-Life Painting VALENTINA ROSSI Panfilo Nuvolone [cat. 1] Agostino Verrocchi [cat. 2] Giovanni Stanchi and Niccolò Stanchi [cat. -
Gallery Baroque Art in Italy, 1600-1700
Gallery Baroque Art in Italy, 1600-1700 The imposing space and rich color of this gallery reflect the Baroque taste for grandeur found in the Italian palaces and churches of the day. Dramatic and often monumental, this style attested to the power and prestige of the individual or institution that commissioned the works of art. Spanning the 17th century, the Baroque period was a dynamic age of invention, when many of the foundations of the modern world were laid. Scientists had new instruments at their disposal, and artists discovered new ways to interpret ancient themes. The historical and contemporary players depicted in these painted dramas exhibit a wider range of emotional and spiritual conditions. Artists developed a new regard for the depiction of space and atmosphere, color and light, and the human form. Two major stylistic trends dominated the art of this period. The first stemmed from the revolutionary naturalism of the Roman painter, Caravaggio, who succeeded in fusing intense physical observations with a profound sense of drama, achieved largely through his chiaroscuro, or use of light and shadow. The second trend was inspired by the Bolognese painter, Annibale Carracci, and his school, which aimed to temper the monumental classicism of Raphael with the optical naturalism of Titian. The expressive nature of Carracci and his followers eventually developed into the imaginative and extravagant style known as the High Baroque. The Docent Collections Handbook 2007 Edition Niccolò de Simone Flemish, active 1636-1655 in Naples Saint Sebastian, c. 1636-40 Oil on canvas Bequest of John Ringling, 1936, SN 144 Little documentation exists regarding the career of Niccolò de Simone. -
Un Cristo Nudo Del 1400 Rivede La Luce a Lauro Scoperto Un Raro Ciclo Di
Un Cristo nudo del 1400 rivede la luce a Lauro Scoperto un raro ciclo di affreschi del XV secolo a Lauro di Nola. Una rarità iconografica che sta meravigliando gli stessi studiosi. Il 2000, anno giubilare, è trascorso in Campania denso di manifestazioni religiose e appuntamenti culturali che hanno riavvicinato il grande pubblico non solo agli aspetti intimi della fede, ma anche alle necessarie “esteriorità”, tra queste la più ghiotta è stata senza dubbio la mostra artistica sul tema della Croce tenutasi presso la sala Carlo V nel Maschio Angioino. La mostra ricca di straordinari reperti, alcuni dei quali, preziosissimi, mai esposti prima, ha fatto seguito ad un dotto convegno sull’argomento organizzato nei mesi precedenti dal professor Boris Iulianich, emerito nell’Università di Napoli e massimo esperto di storia del Cristianesimo, che ha visto la partecipazione di ben 54 relatori provenienti da ogni angolo del globo. Per rimanere nel tema cristologico vogliamo segnalare una sensazionale scoperta avvenuta nella chiesa di Santa Maria della Pietà a Lauro di Nola (fig. 1), ove nell’ambito di un ciclo di affreschi quattrocenteschi, a lungo rimasti sepolti tra le fondamenta di una chiesa più moderna, spicca una scena del Battesimo di Cristo con un’iconografia assolutamente rara: una ostentatio genitalium in piena regola, che lascia esterrefatti, perché la raffigurazione di nostro Signore completamente nudo, in età adulta è poco meno che eccezionale. In Italia possiamo citare soltanto due altri esempi: il Crocifisso ligneo scolpito da Michelangelo nel convento di Santo Spirito in Firenze ed un mosaico nella cupola del Battistero della Cattedrale di Ravenna risalente al V secolo. -
FINE EUROPEAN CERAMICS Including the Collezione Fiordalisi of Neapolitan Porcelain Thursday 7 December 2017
FINE EUROPEAN CERAMICS Including the Collezione Fiordalisi of Neapolitan porcelain Thursday 7 December 2017 SPECIALIST AND AUCTION ENQUIRIES EUROPEAN CERAMICS Sebastian Kuhn Nette Megens Sophie von der Goltz lot 44 FINE EUROPEAN CERAMICS Including the Collezione Fiordalisi of Neapolitan porcelain Thursday 7 December 2017 at 2pm New Bond Street, London VIEWING ENQUIRIES CUSTOMER SERVICES PHYSICAL CONDITION OF Sunday 3 December Nette Megens Monday to Friday 8.30am LOTS IN THIS AUCTION 11am - 5pm Head of Department to 6pm PLEASE NOTE THAT ANY Monday 4 December +44 (0) 20 7468 8348 +44 (0) 20 7447 7447 REFERENCE IN THIS 9am - 4.30pm [email protected] CATALOGUE TO THE PHYSICAL Tuesday 5 December Please see page 2 for bidder CONDITION OF ANY LOT IS FOR 9am - 4.30pm Sebastian Kuhn information including after-sale GENERAL GUIDANCE ONLY. Wednesday 6 December Department Director collection and shipment INTENDING BIDDERS MUST 9am - 4.30pm +44 (0) 20 7468 8384 SATISFY THEMSELVES AS TO Thursday 7 December [email protected] THE CONDITION OF ANY LOT by appointment AS SPECIFIED IN CLAUSE 14 OF Sophie von der Goltz THE NOTICE TO BIDDERS SALE NUMBER Specialist CONTAINED AT THE END OF 24224 +44 (0) 20 7468 8349 THIS CATALOGUE. [email protected] CATALOGUE As a courtesy to intending Rome bidders, Bonhams will provide a £25.00 Emma Dalla Libera written indication of the physical Director condition of lots in this sale if a BIDS request is received up to 24 hours +44 (0) 20 7447 7447 +39 06 485900 before the auction starts. This +44 (0) 20 7447 7401 fax [email protected] written Indication is issued To bid via the internet please subject to Clause 3 of the Notice visit bonhams.com International Director European Ceramics & Glass to Bidders. -
ARTEMISIA GENTILESCHI ARTEMISIA ARTEMISIA GENTILESCHI E Il Suo Tempo
ARTEMISIA GENTILESCHI ARTEMISIA GENTILESCHI e il suo tempo Attraverso un arco temporale che va dal 1593 al 1653, questo volume svela gli aspetti più autentici di Artemisia Gentileschi, pittrice di raro talento e straordinaria personalità artistica. Trenta opere autografe – tra cui magnifici capolavori come l’Autoritratto come suonatrice di liuto del Wadsworth Atheneum di Hartford, la Giuditta decapita Oloferne del Museo di Capodimonte e l’Ester e As- suero del Metropolitan Museum di New York – offrono un’indagine sulla sua carriera e sulla sua progressiva ascesa che la vide affermarsi a Firenze (dal 1613 al 1620), Roma (dal 1620 al 1626), Venezia (dalla fine del 1626 al 1630) e, infine, a Napoli, dove visse fino alla morte. Per capire il ruolo di Artemisia Gentileschi nel panorama del Seicento, le sue opere sono messe a confronto con quelle di altri grandi protagonisti della sua epoca, come Cristofano Allori, Simon Vouet, Giovanni Baglione, Antiveduto Gramatica e Jusepe de Ribera. e il suo tempo Skira € 38,00 Artemisia Gentileschi e il suo tempo Roma, Palazzo Braschi 30 novembre 2016 - 7 maggio 2017 In copertina Artemisia Gentileschi, Giuditta che decapita Oloferne, 1620-1621 circa Firenze, Gallerie degli Uffizi, inv. 1597 Virginia Raggi Direzione Musei, Presidente e Capo Ufficio Stampa Albino Ruberti (cat. 28) Sindaca Ville e Parchi storici Amministratore Adele Della Sala Amministratore Delegato Claudio Parisi Presicce, Iole Siena Luca Bergamo Ufficio Stampa Roberta Biglino Art Director Direttore Marcello Francone Assessore alla Crescita -
Per Una Bibliografia Illustrata Dei Ritratti Di Giambattista Marino
———————————— ACME – Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano LXIII – I – Gennaio-Aprile 2010 http://www.ledonline.it/acme PER UNA BIBLIOGRAFIA ILLUSTRATA DEI RITRATTI DI GIAMBATTISTA MARINO Effigiem ne posce animi, sat corporis esto: non illam parvo clausit Apollo libro. «Di me in Roma sono stati fatti mille ritratti, ma pochi, al mio parere, han- no colpito» (L 359): di questa lapidaria affermazione del Marino impressionano almeno due elementi: in primo luogo, un aspetto quantitativo, utile a immagi- nare il proliferare di questi ritratti; poi, un aspetto qualitativo, per cui, dietro alla capziosa attenzione del Marino per la diffusione e la ricezione della propria immagine, si cela la vanagloria dello scrittore immerso in una calibrata politica di autopromozione intellettuale e accademica. Questa dimensione, per dir così, strumentale della ritrattistica mariniana, non di rado sollevata sul piedistallo dell’autorità di artisti di grido, colloca il ritratto stesso in una posizione dominante nella formazione del fenomeno-Ma- rino, il quale, va ricordato, collocherà se stesso tra gli illustri del suo tempo pro- prio strumentalizzando l’autopoetabilità dei ritratti di sé nella Galeria. La rassegna che si presenterà nelle pagine seguenti seguirà dunque una scansione classificatoria basata sulla presenza letteraria dei ritratti riferiti: da quelli presenti nella Galeria e identificabili (1-3) a quelli versificati ma non iden- tificabili (4-7), dai ritratti non messi in versi dal Marino ma oggi noti (8-12), si- no a quelli assenti in trasposizioni poetiche e, per di più, ormai perduti (13-14). Il tutto tenendo conto che non pochi ritratti sono ancora al centro di dibattiti attributivi o almeno presentano ombre di paternità, su cui si daranno indicazio- ni e orientamenti.