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[ Weitere Angaben: https://bremen.museum-digital.de/index.php?t=objekt&oges=134 vom 29.09.2021 ] Objekt: Madonna mit Kind in der Glorie der Heiligen Museum: KunsthalleBremen Am Wall 207 28195 Bremen (04 21) 3 29 08-0 [email protected] Sammlung: AlteMeister,GemäldeundSkulpturen Kunsthalle Bremen - Der Kunstverein in Bremen [CC BY- Inventarnummer: 896-1964/8 NC-SA] Beschreibung Franceso Solimena war zunächst Schüler seines Vaters Angelo Solimeno und stand später unter dem Einfluss von Giovanni Lanfranco sowie Mattia Preti und Luca Giordano. Mit der Bremer Skizze bereitete er das Altargemälde für die Kirche San Gaudioso in Neapel vor. Dieses wurde 1799 bei einem Brand zerstört, ist aber über seine ausführliche Beschreibung in Bernardo de Dominicis Vite de➫ pittori, scultori ed architetti napoletani ausführlich dokumentiert. Demnach thronte – übereinstimmend mit der Olskizze¨ – in der oberen Bildhälfte auf den Wolken die von Putti umgebene Madonna mit dem Kind. Zu ihrer Linken wurde sie von dem Erzengel Michael flankiert, zu ihrer Rechten von Johannes dem Täufer, der vor Petrus und Paulus auf einer Wolke sitzt. In der unteren Bildhälfte war vorne links Gaudioso, der Bischof von Bithynien, zu sehen, und dahinter der Apostel Stephanus mit Buch und dem Attribut des Steins, der auf sein Martyrium verweist. Dahinter waren Abt Benedikt und seine Schwester Scholastika in ein Gespräch vertieft. Bei der Rückenfigur neben ihnen handelte es sich um Januarius (San Gennaro), den Stadtheiligen Neapels, der der Madonna sein Blut darbringt. Die Beschreibung Dominicis erwähnt zusätzlich Rosa von Lima, die hier rechts, mit Rosen bekränzt, dargestellt ist. Davor stehen Gaudioso, der Bischof von Salerno, und – neben dem Löwen – Fortunata. Im Vordergrund kniet ihr Bruder Priscianus. Die beiden weiteren Personen benennt Dominici als Fortunatas Brüder Carponio und Evarista. Grunddaten Maße 124.5x87.5cm Material/Technik Ol¨ auf erdrot grundierter Leinwand Ereignisse Gemalt ... wann 1733 wer Francesco Solimena (1657-1747) Wurde abgebildet (Akteur) ... Maria (Mutter Jesu) Schlagworte ❼ Apostel ❼ Erzengel ❼ Gemälde ❼ Madonna.

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For a large print version, please ask a member of staff Naples 1600-1800 Compton Verney This leaflet is available to download at www.comptonverney.org.uk 1 & 2. Giuseppe Bonito (1707-1789), Italian: The Poet and The Music Lesson. Oil on canvas, AUSTRIA HUNGARY about 1742. Both 101.5 x 154 cm SWITZERLAND SLOVENIA Giuseppe Bonito studied with the CROATIA influential Neapolitan artist Francesco Solimena (1657-1747) and was admired for his everyday life or I A ‘genre’ scenes, which date primarily from the 1740s. Bonito’s D T R I A innovative subject matter reflected the changing tastes of his T A I C S patrons. This pair of paintings, recently reunited, represent a CORSICA E L A cross section of Neapolitan society. The poet is a Bohemian figure TYRRHENIAN Y surrounded by an admiring audience, one of whom engages SEA the viewer with a sidelong glance. The elegant garments of the SARDINIA figures in The Music Lesson are emphasised through a rich colour IONIAN SEA palette and strong contrast between light and shade. Bonito SICILY uses dynamic poses and multiple figures in the compositions to contribute to the atmosphere of daily life. Naples MEDITERRANEAN SEA Pozzuoli Mount Riviera di Chiaia Vesuvius Posillipo Herculaneum 3. Bernardo Cavallino (1616-56), Italian: Pompeii The Flight into Egypt. Oil on canvas, about 1640-50. 76.8 x 63.5 cm Salerno The flight into Egypt is briefly narrated by St Matthew in the second chapter of his gospel: warned by an angel that King Herod had ordered all infants in Bethlehem to be killed, Joseph ‘rose and took the child and his mother by night, and departed into Egypt’.
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La Vita, La Fortuna Critica, I Capolavori Giuseppe Bonito Nacque A
La vita, la fortuna critica, i capolavori Giuseppe Bonito nacque a Castellammare di Stabia, terzo dei dodici figli di Saverio e di Anastasia Grosso e fu battezzato in quella cattedrale il 2 novembre 1707. Ancora fanciullo, entrò nella bottega di Francesco Solimena che dominava la scena artistica di Napoli. Fu con il Vanvitelli tra i protagonisti della scena artistica napoletana negli anni del regno di Carlo, della reggenza del Tanucci e poi sotto Ferdinando IV, conseguendo incarichi pubblici prestigiosi ed un grande successo tra i committenti. Peppariello diventerà Cavaliere di grazia, pittore di corte, professore dell’Accademia di Belle Arti e direttore a vita della medesima. Una figura che ebbe un ruolo rilevante nel mondo dell’arte ufficiale e non fu immune, come affermava la Lorenzetti, dalla taccia di soverchia invadenza. La critica dell'Ottocento e del primo Novecento ha apprezzato nel Bonito solo il pittore di genere, che come tale avrebbe precorso il realismo e valorizzato le virtù borghesi al contrario, la critica recente riconosce in lui il custode della più schietta tradizione pittorica neoveneta, che ha contribuito a ritardare sino ai limiti del possibile l'avvento del neoclassicismo. Dopo un inizio influenzato dalle esperienze puriste del Solimena, verso la fine degli anni Trenta con le tele (040 - 041) per la chiesa della Graziella a Napoli ed in San Domenico a Barletta (037), muovendo dalla svolta di indirizzo pretiano e dalle ultime tele del Giordano, si orientò verso soluzioni di gusto neo barocco, come si evince chiaramente nella splendida Carità (029) nella sacrestia del Monte di Pietà, eseguita nel 1742 e nel bozzetto(031) per la distrutta decorazione della volta della chiesa di Santa Chiara del 1752.
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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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Paolo De Matteis
Titolo: Artist 1. THE EIGHTEENTH CENTURY IN GUARDIA SANFRAMONDI The XVII and XVIII centuries were for Guardia Sanframondi times of intense economic , social and above all cultural change. This Samnite town, already under Carafa denomination, had intensified its relations with the Kingdom of Naples which was the center of new unrest that was developing in all areas of knowledge. It is thanks to the city of Naples, that Guardia got “a breath of fresh air” from the contemporary culture that was spreading throughout Europe. Such prosperity and cultural wealth brought further growth and development to the town with different elements of the town blossoming and which would symbolize those times of change. In fact, those were years that gave rise to large sums of money being spent for new works which were commissioned to prestigious artists of the time. Further testimony to the prosperity of the time are the works of Paolo De Matteis, Pietro Bardellino, Francesco Narici e Domenico Antonio Vaccaro who gave their artistic talent to no fewer than to three different churches in Guardia Sanframondi: Ave Gratia Plena, San Sebastiano e San Rocco (see section Places of Interest) PAOLO DE MATTEIS (Piano Vetrale 1662 – Napoli 1728) Italian painter. He worked especially in the Kingdom of Naples between the end of 1600s and the beginning of 1700s. ********* Paolo De Matteis, was born in Pietra Vetrale, district of Orria, in the current province of Salerno. He trained with Francesco di Maria in Naples, them with Luca Giordano. In 1682 he was to Rome with Giovanni Maria Morandi, who introduced him to the Academy of St.
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Thomas C. Willette Department of the History of Art Home Address: University of Michigan 454 Fifth Street #1 110 Tappan Hall Ann Arbor, MI 48103 855 S
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