Ancient Table of the Italian School of the Xvii Century

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anticSwiss 02/10/2021 20:02:13 http://www.anticswiss.com ANCIENT TABLE OF THE ITALIAN SCHOOL OF THE XVII CENTURY FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Laboratorio la Mole Torino Style: Alta epoca +39011 19 467 664 393357352986 Diameter:44cm Material:Olio su tavola Price:0€ DETAILED DESCRIPTION: Oil on panel, Diameter 44 cm The painting is in an excellent state of conservation, it depicts a scene of MARTIRIO with numerous perfectly represented figures. The subjects are painted in an elongated shape which is typical of the style of MICCO SPADARO. The work was studied by Prof. Ferdinando Arisi who attributed it to the hand of the master Micco Spadaro. The appraisal of Prof. Luigi Armondi, expert expert of the court confirms the attribution and accompanies the painting. Micco Spadaro, born Domenico Gargiulo (Naples, 1609/1612 - 1675), was an Italian painter of the Baroque style, active mainly in Naples, remembered as a landscape painter and above all for having documented the tumultuous events in Naples in the 17th century. The date of birth and death of Micco Spadaro is not known with certainty. Bernardo De Dominici, his first biographer, wrote that "he was born in the city of Naples in the year 1612 of Pietro Antonio, who practiced the art of sword-making in the street known as Visitapoveri" and that he died at the age of 67 (in 1679 ). However, in the parish archives of the time the art historian Giuseppe Ceci did not find documents confirming these dates. The nickname by which he is universally known is due to the profession of his father, who was a sword-forging craftsman. It began when he was taken over by Aniello Falcone, who he attended together with Andre di Leone and Salvator Rosa. He later collaborated with Viviano Codazzi and his early works were influenced by Paul Bril and Filippo Napoletano. Among his major clients was the Flemish collector Gaspare Roomer, to whom the painter owed his fortune. He also worked for the Certosa di San Martino, where he painted in the Choir of the Conversi and in the Quarto del prior. Spadaro's representations of the Masaniello insurrection and the plague of 1656 are also very famous. https://www.anticswiss.com/en/fine-art-antiques/ancient-table-of-the-italian-school-of-the-xvii-century-24832 1 / 2 anticSwiss 02/10/2021 20:02:13 http://www.anticswiss.com Gallery 2 / 2 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).

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The Pennsylvania State University
The Pennsylvania State University The Graduate School Department of Art History THE DOCUMENTED PAINTINGS AND LIFE OF ANDREA VACCARO (1604-1670) A Thesis in Art History by Anna Kiyomi Tuck-Scala Ó 2003 Anna Kiyomi Tuck-Scala Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2003 The thesis of Anna Kiyomi Tuck-Scala was reviewed and approved* by the following: Jeanne Chenault Porter Associate Professor of Art History Thesis Adviser Chair of Committee Roland E. Fleischer Professor Emeritus of Art History George L. Mauner Distinguished Professor Emeritus of Art History Alfred A. Triolo Associate Professor Emeritus of Italian and Spanish Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School iii ABSTRACT This dissertation takes stock of what is known about Andrea Vaccaro (1604- 1670), one of the most prominent painters of Naples in the middle of the seventeenth- century. Although successful during his lifetime, Vaccaro currently suffers a reputation that is, at best, second rate. Due to the hundreds of paintings attributed to Vaccaro of dubious quality, modern art historians characterize his art as “eclectic” and “academic.” The sole monograph on Vaccaro, Maria Commodo Izzo’s Andrea Vacccaro pittore (1604-1670) published in 1951, is also sorely out of date. This study provides a new and more accurate portrayal of the artist. Rather than the customary all-inclusive approach, this study is based on the solid foundation of all known documents about the artist’s life and art, which are gathered and analyzed in one place for the first time.
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DIRECTIONS to BAROQUE NAPLES Helen Hills
1 INTRODUCTION: DIRECTIONS TO BAROQUE NAPLES Helen Hills Abstract How have place in Naples and the place of Naples been imagined, chartered, explored, and contested in baroque art, history and literature? This special issue revisits baroque Naples in light of its growing fashionability. After more or less ignoring Naples for decades, scholars are now turning from the well-trodden fields of northern and central Italy to the south. This is, therefore, an opportune moment to reconsider the paradigms according to which scholarship has -- often uncritically – unrolled. How has scholarship kept Naples in its place? How might its place be rethought? Keywords: Naples, baroque, meridionalismo, viceregency, colonialism, Spanish empire, architecture, urbanism, excess, ornament, marble, Vesuvius, Neapolitan baroque art, city and body, Jusepe de Ribera, city views, still-life painting, saints and city, place, displacement Full text: http://openartsjournal.org/issue-6/article-0 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w00 Biographical note Helen Hills is Professor of History of Art at the University of York. She taught at the University of North Carolina at Chapel Hill and the University of Manchester before being appointed Anniversary Reader at York. Her research focuses on Italian baroque art and architecture in relation to religion, gender, and social class, exploring how architecture and place are productive and discontinuous, even disjunctive. She has published widely on baroque theory, southern Italian baroque art and architecture; religious
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Andrea De Lione Insigne Battaglista E Maestro Di Scene Bucoliche
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Portland State University PDXScholar School of Art + Design Faculty Publications and Presentations School of Art + Design 10-2017 Book Review: Baroque Naples and the Industry of Painting: The World in the Workbench Jesse Locker Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/artdesign_fac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to this document benefits ou.y Citation Details Locker, Jesse (2017). Review of Christopher R. Marshall, Baroque Naples and the Industry of Painting: The World in the Workbench (New Haven: Yale UP, 2016). CAA Reviews. DOI: 10.3202/ caa.reviews.2017.147 This Book Review is brought to you for free and open access. It has been accepted for inclusion in School of Art + Design Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Baroque Naples and the Industry of Painting: The World in the Workbench A Publication of the College Art Association Concise, critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies Review Categories October 13, 2017 Christopher R. Marshall Baroque Naples and the Industry of Painting: About caa.reviews The World in the Workbench New Haven: Yale University Press, 2016. 352 pp.; 88 color Book Reviews ills.; 115 b/w ills. Cloth $75.00 (9780300174502) Jesse Locker Exhibition Reviews CrossRef DOI: 10.3202/caa.reviews.2017.147 Essays Seventeenth-century Naples was the largest city in Italy, and the second largest in Europe after Recent Books in the Arts London.
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S. Maria Del Pianto: Loss, Remembrance and Legacy in Seventeenth Century Naples
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Università degli Studi di Napoli “Federico II” Facoltà di Lettere Dottorato di Ricerca in Scienze Archeologiche e Storico-Artistiche XX ciclo Tesi di dottorato “B ELLA E FERACE D ’INGEGNI (SE NON TANTO DI COLTURA ) PARTENOPE ” IL DISEGNO NAPOLETANO ATTRAVERSO LE COLLEZIONI ITALIANE ED EUROPEE TRA SEI E SETTECENTO Tutor Prof.ssa Rosanna De Gennaro Coordinatore Candidato Prof. Carlo Gasparri Dott. Mario Epifani Anno Accademico 2006-2007 INDICE INTRODUZIONE Pag. IV CAPITOLO I – NAPOLI Disegni in raccolte seicentesche: il barone di Frosolone e il principe di Tarsia 1 Gaspar Roomer, i fratelli Garofalo e altri collezionisti minori 4 Il marchese del Carpio 8 Il “libro de’ disegni” di Bernardo De Dominici 16 Dalle Vite di De Dominici: collezioni di artisti 22 Il conte Firmian 25 Collezioni napoletane del tardo Settecento: Francesco La Marra e i fratelli Terres; i disegni Brencola 27 Appendice A – I disegni della collezione Spinelli di Tarsia 36 Appendice B – Disegni con montaggio De Dominici (?) a Capodimonte 39 Appendice C – I disegni napoletani della collezione Firmian 40 Appendice D – I disegni napoletani dei fratelli Terres 42 CAPITOLO II – ROMA La collezione di Cristina di Svezia: i disegni napoletani e il corpus di Lanfranco 43 Padre Resta 47 Il cardinal Gualtieri, la collezione Corsini e i disegni napoletani della Farnesina 56 Disegni napoletani in collezioni di artisti romani: Carlo Maratti e Giuseppe Ghezzi 61 La collezione Cavaceppi-Pacetti: qualche ipotesi sulla provenienza dei disegni napoletani del Kupferstichkabinett di Berlino
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