The Rape of the Sabine Women. School of Sebastiano Conca Oil on Canvas 2.90 × 4.08 M Historic Building. University of Barcelona

Total Page：16

File Type：pdf, Size：1020Kb

The Rape of the Sabine Women . School of Sebastiano Conca Oil on canvas 2.90 × 4.08 m Historic Building. University of Barcelona On loan from the Prado Museum, no. P-5274 The Rape of the Sabine Women evokes a legendary episode in the early history of Rome, given extensive treatment by several Roman authors in antiquity. According to tradition, the Sabines were invited to a festival in Rome. At a signal from Romulus, the Roman hosts grabbed the Sabine women and fought off the Sabine men. Legend makes reference to two circumstances behind this action. The first is a shortage of women in Rome, which had just been founded, and the second is that some societies in antiquity viewed kidnapping and rape as an accepted social practice. The list of artists who have portrayed this iconographic subject throughout the history is long and includes Nicolas Poussin (1594-1665), Jacques Louis David (1748-1825) and Pablo Picasso (1881-1973). Sculptural depictions include the famous work of Giambologna (1529-1608). This Rape of the Sabine Women is attributed to Sebastiano Conca (ca. 1680-1764). Conca was trained in the school of Francesco Solimena in Naples and drew on the splendid scenery of the Italian Late Baroque of Luca Giordano. The painting belongs to the collection of the Prado Museum and was given on loan to the University of Barcelona in 1881. It has an exceptional history, because it appears to have been part of the collection of Manuel Godoy (1767-1851). Between 1792 and 1808, Godoy brought together nearly a thousand paintings obtained through his social position and unscrupulous practices. Some paintings from his collection, now in the Prado Museum, include Goya's La maja vestida , La maja desnuda and The Countess of Chinchón , and Velázquez's Christ . (IS) .

Copy Link

Recommended publications

Mattia & Marianovella Romano
Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other.
[Show full text]
Gallery Painting in Italy, 1700-1800
Gallery Painting in Italy, 1700-1800 The death of Gian Gastone de’ Medici, the last Medici Grand Duke of Tuscany, in 1737, signaled the end of the dynasties that had dominated the Italian political landscape since the Renaissance. Florence, Milan, and other cities fell under foreign rule. Venice remained an independent republic and became a cultural epicenter, due in part to foreign patronage and trade. Like their French contemporaries, Italian artists such as Giovanni Battista Tiepolo, Francesco Guardi, and Canaletto, favored lighter colors and a fluid, almost impressionistic handling of paint. Excavations at the ancient sites of Herculaneum and Pompeii spurred a flood of interest in classical art, and inspired new categories of painting, including vedute or topographical views, and capricci, which were largely imaginary depictions of the urban and rural landscape, often featuring ruins. Giovanni Paolo Pannini’s paintings showcased ancient and modern architectural settings in the spirit of the engraver, Giovanni Battista Piranesi. Music and theater flourished with the popularity of the piano and the theatrical arts. The commedia dell’arte, an improvisational comedy act with stock characters like Harlequin and Pulcinella, provided comic relief in the years before the Napoleonic War, and fueled the production of Italian genre painting, with its unpretentious scenes from every day life. The Docent Collections Handbook 2007 Edition Francesco Solimena Italian, 1657-1747, active in Naples The Virgin Receiving St. Louis Gonzaga, c. 1720 Oil on canvas Bequest of John Ringling, 1936, SN 165 Giovanni Antonio Pellegrini Italian, 1675-1741, active in Venice The Entombment, 1719 Oil on canvas Bequest of John Ringling, 1936, SN 176 Amid the rise of such varieties of painting as landscape and genre scenes, which previously had been considered minor categories in academic circles, history painting continued to be lauded as the loftiest genre.
[Show full text]
Keith Sciberras, Baroque Painting in Malta, Midsea Publications, ISBN-10: 99932724932009, ISBN-13: 978-9993272496, 2009
Keith Sciberras, Baroque Painting in Malta, Midsea Publications, ISBN-10: 99932724932009, ISBN-13: 978-9993272496, 2009 This marvellous and huge tome provides a detailed survey of the ‘Baroque period’ in Malta. This period was marked by the realism and naturalism of Caravaggist painting, the ‘noble classicism’ of the Bolognese school, and the exuberance of the high and late Baroque periods. The period is the richest in Malta’s art history as far as ‘old paintings’ are concerned. The author, Keith Sciberras, a History of Art academic at the University of Malta with a growing international reputation for his work in the area (particularly his work on Melchiorr Cafa and Caravaggio) states that he has been researching the period for the past fifteen years. This period is represented on the island by fine works of art. The painters in question include quite a number who stamped their mark on the history of western European art. Michelangelo Merisi da Caravaggio is undoubtedly the towering figure here. Then we come across works by Guido Reni, Jusepe de Ribera (the Valenciano, known as ‘Lo Spagnoletto’, from the Borgias’ city of Xativa), Luca Giordano (‘Luca fa presto’), Giovanni Battista (Battistello) Caracciolo, Massimo Stanzione, Mattia Preti (il Cavalier Calabrese), the Dutch caravaggist Mathias Stom (or Stomer), Pietro Novelli (il Monrealese) and Andrea Vaccaro. There are also lesser known figures on the international stage such as Mario Minniti (Caravaggio’s personal friend from Syracuse), the Florentine Filippo Paladini (he came here as a result of his having been sentenced to the galleys), Matteo Perez d'Aleccio, Giuseppe Arena and Stefano and Alessio Erardi.
[Show full text]
Press Dossier
Press Dossier National Museum of Ancient Art 19 May - 10 September 2017 Nota de prensa This is the first exhibition resulting from the alliance established by ”la Caixa” Banking Foundation and the BPI to implement social and cultural projects in Portugal Madonna. Portugal Presents Treasures from the Vatican Museums • The MNAA, ”la Caixa” Banking Foundation and the BPI present Madonna. Treasures from the Vatican Museums. The exhibition features a selection of works from the famous collections of the Vatican Museums, particularly the extraordinary art gallery. • The show takes visitors on a chronological journey spanning nearly one thousand years, from late Antiquity to the modern age, taking the iconography of Our Lady as its central theme. • The works on show include paintings by “Primitive” Italian artists (Taddeo di Bartolo, Sano de Pietro, Fra Angelico) and great Renaissance and Baroque masters (Rafael, Pinturicchio, Salviati, Pietro da Cortona, Barocci), as well as outstanding tapestries and manuscripts from the Vatican Apostolic Library. • The exhibition is the first fruit from the cultural sponsorship programme established by ”la Caixa” Banking Foundation and the BPI after the two institutions announced their intention to jointly promote social and cultural projects in Portugal over the coming years. Madonna. Treasures from the Vatican Museums . Dates : 19 May - 10 September 2017. Place : National Museum of Ancient Art (R. das Janelas Verdes). Concept and production : ”la Caixa” Banking Foundation, Vatican Museums, National Museum of Ancient Art and BPI. Curators : Alessandra Rodolfo (Vatican Museums) and José Alberto Seabra Carvalho (MNAA). @FundlaCaixa Nota de prensa Lisbon, 16 May 2017. Antônio Filipe Pimentel, director of the National Museum of Ancient Art; Elisa Durán, assistant general manager of ”la Caixa” Banking Foundation; José Pena Amaral, of the BPI Executive Board; and the curators of the exhibition, Alessandra Rodolfo and José Alberto Seabra Carvalho today presented Madonna.
[Show full text]
Giovanni Conca by Olivier and Geneviève Michel - Biographical Dictionary of Italians - Volume 27 (1982)
Giovanni Conca by Olivier and Geneviève Michel - Biographical Dictionary of Italians - Volume 27 (1982) Son of Giacomo, he was born in Gaeta around 1690. He was Sebastiano's cousin but soon his brother was believed to be so close the bonds of friendship and work. He had his first teachings from Sebastiano before being a pupil of Solimena; it seems that he did not come to Rome together with his cousin as is generally written, but that he only reached it when the situation of this had become secure and definitive: he appeared there for the first time in 1719 when they lived together in the De Cupis palace in piazza Navona where Cardinal Ottoboni gave lodging to his cardinal "family". 20 February 1721 he married, in S. Maria in Trastevere, Anna Laura Scarsella of Castro, a Roman of Spanish origin, as probably CONCA themselves. They had at least eleven children including Tommaso, the last of the males, a painter himself. In the footsteps of Sebastiano CONCA he was admitted to the Congregation of the Virtuosi al Pantheon (February 8, 1722) and elected academic of merit, to St. Luke on March 6, 1735; on 3 April he handed over the picture for admission whose subject is not specified: it is the so-called Vigilance, or more precisely Modesty, a fine quality canvas, which was believed to have been painted by Sebastiano and given to the Academy by Giovanni. The new academic showed little interest in the institution's activities: in the early years he attended eight congregations out of more than thirty, then, from 7 July 1737, he no longer appears.
[Show full text]
The Chigi Palace in Ariccia Illustrated Guide
The Chigi Palace in Ariccia Illustrated guide The Chigi Palace in Ariccia THE CHIGI PALACE IN ARICCIA Illustrated guide Photography Edited by City of Ariccia Mauro Aspri (Ariccia) Daniele Petrucci Arte Fotografica (Roma) Roberto Di Felice Mauro Coen (Roma) Francesco Petrucci Mayor Augusto Naldoni (Roma) Claudio Fortini Daniele Petrucci 1st Area Director Burial Ground of II Partic Legion (Empereor Septimius Severus) Francesco Petrucci Chigi’s Palace curator Noble Floor Princess Antonietta Green room Bedroom Fountains 17th c. Nun’s room Studio of Albani Service Prince Mario room room Sayn Park Avenue Chapel Wittgenstein Aviary (Cappella) Summer dining Bedroom hall (Camera Rosa) (Uccelliera) Ariosto room Gallery Red and yellow hall Master Hall Landscape Tr ucco room Borghese room Mario de’ Fiori Beauties gallery room room Ruins of Fountains S. Roch 17th c. Grotesque room Pharmacy Neviera Monument of Pandusa (Piazzale Mascherone) 1st c. Ground Floor Square of the mask Ancient Quarry Pump House Chapel Garden of the fallen Peschiera Large Square Room of Room of Room of the Chinese Arquebus Big Flocked Paper wallpaper Kitchen (Cucinone) Public gardens Monumental Bridge of Ariccia Chigi Palace 19th c. Gemini room Piazza di Corte Dog’s hall (Bernini, 1662-65) Leo Virgo Antechamber e Cancer room room room The Chigi Palace in Ariccia Piazza di Corte 14 -00072 Ariccia (Roma) ph. +39 069330053 - fax +39 069330988 - Red bedroom www.palazzochigiariccia.com - [email protected] Publisher Arti Grafiche Ariccia Ariccia - printed in october 2019 View of the Chigi Palace on the Piazza di Corte by Bernini. The Ducal Palace of Ariccia represents an unique example of Roman Baroque residence unaltered in its own context and original furnishings, documenting the splendour of one of the major Italian papal families, once owners of the Chigi Palace in Rome, nowadays seat of the Presidency of the Council of Ministries.
[Show full text]
015-San Clemente
(015/25) San Clemente al Laterano The Basilica of San Clemente is an early 12th century minor basilica, a titular and conventual church built on top of the ruins of a late 4th century church, itself on top of important ancient Roman remains. The church is in rione Monte, between the Coliseum and San Giovanni in Laterano. The dedication is to Pope St Clement I. [1] History The present church was built around 1100. Below it is a 4th century church, and below that are two ancient Roman edifices. One of these is a Roman building in which it is traditionally believed that Christians worshipped until the 4th century church was built. [1] The 19th century excavations under the church uncovered a pagan temple, a Mithraeum or Temple of Mithras which belonged to one of many 1st century mystery religions in competition with Christianity in Rome. Next to this were the remains of a very solid structure, which they identified as the palazzo of Titus Flavius Clemens. Modern archaeologists now suspect this edifice was not a private dwelling, but might have been the Moneta (or Imperial mint for coinage). There is evidence of substantial alteration to this in the 3rd century, which modern publications suggest might have been as a result of conversion to Christian use. [1] 4th Century Lower Basilica The first possible documentary evidence of the basilica comes from the pontificate of Pope Siricius (384– 399), when a church dedicated to St Clement is mentioned. This accords with the epigraphical evidence discovered in the ruined basilica, although some scholars would prefer a slightly later date in the early 5th century.
[Show full text]
Comunicato Re E Mecenati Chambery Def
Ville de Chambéry www.chambery.fr COMUNICATO STAMPA Re e mecenati LA CORTE DEI SAVOIA E LE FORME DEL ROCOCÒ (TORINO, 1730-1750) Museo di Belle arti di Chambéry in collaborazione con Palazzo Madama, Torino MOSTRA DAL 3 APRILE AL 24 AGOSTO 2015 Contatto Stampa: [email protected] - tel +33(0)4 79 60 20 53 1 Sommario Comunicato stampa pagina 3 I percorsi della mostra pagina 6 Scenografia pagina 9 Materiale fotografico disponibile per la stampa pagina 10 Eventi in concomitanza con la mostra pagina 13 Visite guidate pagina 15 (Visite e laboratori, adulti, bambini, famiglie, adattate) Proseguire la mostra pagina 19 In vendita in negozio pagina 20 Catalogo pagina 21 Estratti dal catalogo pagina 22 Presentazione dei musei della città di Chambéry pagina 27 Contatto Stampa: [email protected] - tel +33(0)4 79 60 20 53 2 Comunicato stampa RRReReee e mmecenatiecenati La corte dei Savoia e le forme del Rococò (Torino(Torino,, 17301730----1750)1750) Mostra 20152015,,,, d dalal 3 aprile al 24 agosto Museo di Belle Arti di Chambéry (Francia) VisitVisitaa per la stampa Giovedi 2 a aprileprile alle ore 14 14::::30303030. Presentazione in anteprima della mostra a cura di Caroline Bongard, Direttore dei musei di Chambéry e Commissario associato. Inaugurazione Venerdì 3 aprile alle ore 19.00 In presenza di: Michel Dantin, Sindaco di Chambéry e Deputato europeo, Giulio Marongiu, Console Generale Italiano a Lione, Enrica Pagella, Direttore di Palazzo Madama, Torino. Per la prima volta in Francia e a Chambéry, la mostra presenta circa 90 opere provenienti dalle collezioni di Palazzo Madama a Torino e dai musei di ChambéryChambéry: disegni, incisioni, dipinti, mobili, arti decorative illustrano il ruoloruolo di mecenati assunto dai Duchi ddii Savoia nel XVIII secolo, in particolare da Carlo Emanuele III, Principe di Piemonte, Duca di Savoia e Re di Sardegna dal 1730 al 1773.
[Show full text]
Elenco Opere
ALLEGATO N. 1 ITALIA N. PRESTATORE OPERA TIPOLOGIA CASSA NOTE TECNICHE DITTE DI TRASPORTO PRESCRITTE RAGGRUPPAMENTI PIEMONTE - TORINO 69 Galleria Sabauda (Torino) Sebastiano Ricci, Cena in casa di Simone Fariseo, 1724-1730, cassa cimatizzata prima dell'inserimento in cassa dovrà essere collocata sul RAGGRUPPAMENTO N. 1 olio su tela, cm 68 x 106, inv. 468.V.591 retro una lastra di carton-plume e l'opera dovrà essere avvolta nel Tyvec 159 Alexandre-François Desportes, Natura morta con cassa climatizzata prima dell'inserimento in cassa dovrà essere collocata sul selvaggina, 1727, olio su tela, cm 100 x 75, inv. 495, V 354. retro una lastra di carton-plume e l'opera dovrà essere avvolta nel Tyvec 77 Pietro Francesco Garola, Interno della Basilica di San Pietro, cassa climatizzata prima dell'inserimento in cassa dovrà essere collocata sul 1710 circa, olio su tela, cm 171 x 119, inv. 160, V 74. retro una lastra di carton-plume e l'opera dovrà essere avvolta nel Tyvec 95 Francesco Solimena, Eliodoro cacciato dal Tempio, 1723, cassa climatizzata prima dell'inserimento in cassa dovrà essere collocata sul olio su tela, cm 154 x 206, inv. 381, V 621. retro una lastra di carton-plume e l'opera dovrà essere avvolta nel Tyvec 116 Carle Vanloo, Ritratto di Francesco Ladatte, circa 1744, olio cassa climatizzata prima dell'inserimento in cassa dovrà essere collocata sul su tela, cm 117 x 88. Torino, Galleria Sabauda, inv. 103. retro una lastra di carton-plume e l'opera dovrà essere avvolta nel Tyvec 118 Pierre Subleyras, Ritratto dell’Abate Ramelli, 1725, olio su cassa climatizzata prima dell'inserimento in cassa dovrà essere collocata sul tela, 120x90 cm retro una lastra di carton-plume e l'opera dovrà essere avvolta nel Tyvec 159 Alexandre Francois Desportes, Natura morta con cassa climatizzata prima dell'inserimento in cassa dovrà essere collocata sul selvaggina, 1727, olio su tela, inv.
[Show full text]
Corrado Giaquinto's Critical Fortune
03-Stefano Pierguidi:Maquetación 1 26/08/16 13:13 Página 255 ARCHIVO ESPAÑOL DE ARTE, LXXXIX, 355 JULIO-SEPTIEMBRE 2016, pp. 255-268 ISSN: 0004-0428, eISSN: 1988-8511 doi: 10.3989/aearte.2016.17 CORRADO GIAQUINTO’S CRITICAL FORTUNE IN ROME AND THE REASONS FOR HIS DEPARTURE FOR MADRID STEFANO PIERGUIDI Sapienza Università di Roma [email protected] Around 1751, Cochin pointed out that the best painters then in Rome were Masucci, Mancini, Battoni and “le chevalier Corado”. Cochin’s statement would seem to be one of the most meaningful indications of the artist’s fame. Modern criticism, however, tends not to distinguish between the nature of Giaquinto’s and Masucci, Mancini and Batoni’s success: while the latter three artists had definitively established themselves as history painters in oil and could work for international patrons without leaving Rome, Giaquinto never succeeded in asserting himself in that capacity and in this medium. Indeed, in his letter Cochin mistook Corrado for the more famous and well-known knight Sebastiano Conca. Being summoned to Madrid was certainly a great achievement for Giaquinto, but leaving Rome was somehow a forced choice because in the 25 years he had spent there since 1727, the painter had never achieved the success to which he aspired. Key words: Corrado Giaquinto; Giambattista Tiepolo; Francesco De Mura; Francesco Algarotti; Baroque painting; painting in Rome. LA FORTUNA CRÍTICA DE CORRADO GIAQUINTO EN ROMA Y LOS MOTIVOS DE SU PARTIDA POR MADRID Alrededor de 1751 Cochin indicaba a los que eran considerados los mejores pintores de Roma en la época: Masucci, Mancini, Battoni y “le chevalier Corado”.
[Show full text]
Italian Art at the Utah Museum of Fine Arts (UMFA) Spans Several Centuries, from the Late 1300S to the 1900S
Ursula M. Brinkmann Pimentel ITALIAN ART AT THE UTAH MUSEUM OF FINE ARTS A GUIDE TO THE COLLECTION Contributors: Elizabeth A. Peterson Martha A. Seiner Madelyn D. Garrett 1 Copyright © Ursula M. Brinkmann Pimentel 2000 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112, USA. This publication is made possible, in part, by generous support from Friends of the Art Museum and the Salt Lake City Arts Council. Accredited by the 2 CONTENTS Page Foreword ………………………………………………………..………………………………………………..9 Acknowledgments………………………………………………………………..………………………………10 Catalogue………………………………………………………………………………………………………...11 Explanation of Cataloguing Practices ………………...…………………………………………………………12 Cat. 1 Unknown Italian, Madonna and Child with Angels……………………………………………………..14 2 Unknown Italian, possibly Tuscan, Parchment Leaf from the Proper of Saints, Feast of the Nativity of St. John the Baptist (24 June), Matins, Third Nocturn…………………..……..18 3 Unknown Italian, possibly Tuscan, Parchment Leaf from the Common of Saints, Common of Several Martyrs, Matins, Second-Third Nocturns………………………...………………..21 4 Fra Filippo di Tomaso Lippi, Madonna and Child………………………………………………………23 5 Unknown Italian, Saint Cecilia…………………………………………………………………………..27 6 School of Andrea Mantegna, Entombment with Three Birds……………………………………………31 7 Daniel Hopfer, Battle between Two Tritons, after Andrea Mantegna…………………………………...35 8 Polidoro di Bartolomeo, Crucifixion with Saints (Virgin Mary, Mary Magdalen, St. John the Apostle, St. Francis of Assisi,
[Show full text]
The Rest on the Flight Into Egypt Signed with the Artist’S Abbreviated First Names in Black Chalk on the Fallen Stone ‘TÙM
Tomasso Maria Conca (Rome 1735 - Rome 1822) The Rest on the Flight into Egypt signed with the artist’s abbreviated first names in black chalk on the fallen stone ‘TÙM. / MAP / V.D.’ (lower right) black chalk, within black chalk framing lines 45.9 x 51.8 cm (18⅛ x 20⅜ in) The present drawing depicts a moment in the Holy Family’s escape from the infanticide of King Herod. The figures have obviously been resting and are now preparing to set off again. Joseph hails a boatman whilst gathering their belongings and Mary picks up her son. Details, such as the sphinx, hieroglyphs and distant obelisk, create a setting which is overtly Egyptian, whilst the Grecian style signature reflects a general interest in the ancient world on the part of Tommaso Maria Conca. This interest is confirmed by another treatment of the same subject by the artist, which is in the collection of the Accademia Nazionale di San Luca, Rome, although here the family are amongst Roman, rather than Egyptian relics.¹ The Rest on the Flight into Egypt, although one of the few works that Conca attempted with a biblical subject matter, is characteristic of his work in its concision and balance of composition, a prominent feature of his other drawings such as The Finding of Moses. In the present work the Virgin and Child are bathed and highlighted by a soft light. The inward movement of both Joseph and the boatman helps direct our attention to mother and child. Similarly, in The Finding of Moses, the figures, which are arranged in a frieze-like manner, create a sense of movement which leads to, in this case, Bithiah, daughter of the Pharaoh of Egypt, who receives the infant Moses in her arms.
[Show full text]