The type of image before us straddles the sacred and secular as seen in the contemporary Roman paintings of Caravaggio and subsequently adopted by both Tommaso Salini and Gramatica himself. The allegorical content of the canvas in question is even more nuanced and secular, and more closely connected with portraiture.
Questo bel dipinto, in eccellente stato conservativo, presenta in veste allegorica il ritratto di fidanzamento di una fanciulla. La datazione dovrebbe collocarsi allo scadere del Cinquecento. The painting should be dated to the very end of the Cinquecento. Scritti in onore di Marco Chiarini, Firenze , pp. Cultura e Storia, Trento , pp.
The reconstruction of his creative career still presents challenges because of his shift between late Mannerist forms and a precocious Baroque style, both grounded in the great and enduring tradition of Renaissance Ferrara. Scritti in onore di Marco Chiarini, Florence , pp. The young artist soon turned his attention to Scarsellino, his senior by nearly thirty years, who was then the most famous painter in Ferrara.
The most involved and celebrated project in Ferrara was the decoration of the basilica of Santa Maria in Vado, already complete in I gesti naturali e spontanei si compongono e si intrecciano in un abbraccio affettuoso. The Gospel episode briefly described only by the Evangelist Matthew 2: This iconography provided artists with an occasion to transform the sacred episode into an idyllic narrative set in broad and always varied landscapes. Bononi composes the scene in an unusual vertical format, and the scene hinges on the Holy Family in the foreground, shown as they board the boat.
The story is enlivened by the swiftness of the flight itself: Mary is still on the back of the mule and gingerly passes the Child to Joseph, his arms reaching out to the old man who is ready to receive him — their natural, spontaneous gestures mingling with each other in an affectionate embrace.
Abstract in progress - IAGP International Psychodrama Conference
The painter thus conveys the sacred theme with a human, familiar tone. The angel, absorbed in holding the rope, has red curls — recalling Reni — windblown hair and silvery-feathered wings that stand out against the river landscape, shrouded in Po valley mists. The distant oak trees in the meadows beyond the city walls and the hills on the horizon fade. The enamelled colours, folded onto each other in Venetian style, and the fluid brushwork, emphasise the folds of drapery in the simple cloaks, rendered almost like velvet and linen.
The dimensions and uninhibited interpretation of the subject suggest a private commission. Its excellent state of preservation enables us to appreciate its brilliant painterly handling. Le misure e la libera interpretazione del soggetto fanno pensare ad una destinazione privata. In quella che costituiva una straordinaria palestra per gli artisti, il nostro pittore ebbe modo di compiere il proprio percorso evolutivo a contatto con quanto veniva prodotto nei principali centri artistici italiani, grazie al gran numero di opere che entravano nella collezione del grande mecenate.
The artistic career of Bernardo Strozzi — initially founded on Tuscan influences thanks to his apprenticeship with the Sienese painter Pietro Sorri, active in Genoa in — nearly died in its tracks when he decided to become a Capuchin friar at eighteen. After nine years in a monastery he clearly had second thoughts, requesting and obtaining release from his vows to the cloister, becoming a secular priest and dedicating himself unequivocally to a life in painting.
His effective training took place during the s, when his eye was especially drawn to Milanese painting; this was part of a larger and intense exchange of ideas between Genoa and the Lombard city that was to become a defining element of Ligurian painting during the first half of the seventeenth century. Strozzi was particularly enriched by contact with Giulio Cesare Procaccini, who was very active in Genoa and ninety of whose works were owned by the greatest local collector, Gian Carlo Doria, who had established a true Accademia del Disegno in his own residence — an academy keenly frequented by Strozzi himself.
In , in order to free himself from the coercion of the ecclesiastical authorities, who had demanded his return to the convent, Strozzi made an adventurous escape from Genoa and fled to Venice, a city that would guarantee him greater civil liberties; he spent the last ten years of his life there. Marked by the impact of Venetian painting, his style became more expansive and luminous, and indeed fully Baroque, yet without losing anything of its remarkable chromatic energy and expressive exuberance.
Salerno, Italian still life painting from three centuries, The Silvano Lodi collection, catalogo della mostra Monaco di Baviera , Firenze , pp. Zeri, La Natura morta in Italia, Milano , vol. Mortari, Bernardo Strozzi, Roma , pp. In search of lost Old Masters, London , pp.
Dathe, Natura morta italiana: Italienischen stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, catalogo della mostra, Ravensburg , pp. Manzitti, Bernardo Strozzi, di prossima pubblicazione, Torino, Allemandi. Salerno, La natura morta italiana , Rome , pp. Salerno, Italian still life painting from three centuries, The Silvano Lodi collection, exh. Zeri, La Natura morta in Italia, Milan , vol. Mortari, Bernardo Strozzi, Rome , pp.
Italienischen stilleben aus vier Jahrhunderten, Sammlung Silvano Lodi, exh. Manzitti, Bernardo Strozzi, forthcoming publication, Turin, Allemandi. Alla luce di questi ritrovamenti, veniva rivalutato anche quanto asserito in una pubblicazione. When all is said and done, it would not have been hard to imagine this side of his art, given the excellent quality of passages describing various objects — vases of the most disparate shapes, flowers and fruit of every kind — inserted in numerous canvases e.
Nonetheless, tradition always held up Strozzi as a great artist exclusively dedicated to figure painting. It must be said that the tempting notion of him as a still life painter had been aired for some time, albeit quietly and uncertainly; this was true whenever there emerged a canvas with flowers or fruit, defined by that unmistakable immediacy and richness of pigment, with the path of the brushstroke distinctly recognizable in the grooves left by the hairs of the brush — an absolutely typical and exclusive attribute of Strozzi.
In the light of these discoveries, it was time to reassess the statement made in by Cesare Augusto Levi regarding a document concerning. In conclusion, we may add that some still lifes are among the paintings by Strozzi listed in a posthumous inventory of his household goods in L. Figurative elements are presented with Baroque emphasis and chromatic exuberance, and the studied effect of animated confusion is quite distinct from the composed quality — with arrangements along a single plane — of so many of his other paintings.
Rotondi Terminiello, Genova , Milano , pp. Il pittore, nato verosimilmente a Milano attorno al , giunse giovanissimo a Roma, dove fu segnalato nel presso la bottega del poco noto Adriano di Monteleone. Un pittore caravaggesco tra Roma e la Lombardia, catalogo della mostra a cura di D. It is likely that the painter was born in Milan in about , and arrived in Rome as a young man.
In he is documented in the Roman workshop of the little-known Adriano di Monteleone. These were the years in whichVermiglio was seeking new horizons, as we can see in the first works he painted after his return to Lombardy c. We can also sense an increasing attraction to Emilian painting, and to Reni in particular, beyond the return to 16th-century Lombard traditions, evident in the Last Supper now in the Arcivescovado in Milano , which takes its inspiration from Leonardo and Gaudenzio Ferrari.
Thus one finds a very similar stylistic approach in the work of Daniele Crespi, who was to collaborate with Giuseppe in projects for the Lateran Canons in Milan, at Santa Maria della Passione, and for the Carthusians in Pavia. For the latter he produced several autograph works, such as the Saint Bruno in Ecstasy in the Museo della Certosa Ecclesiastical commissions were balanced by an intense output of easel paintings, where we see his frequent use of Caravaggesque language.
Abstract in progress
Un pittore caravaggesco tra Roma e la Lombardia, exh. Rome, private collection 19th century. When resisted by the maiden, he had her tortured and imprisoned. Here the devil appeared to her in the form of a fearsome dragon who threatened to devour her, but the saint freed herself with the sign of the cross. Having escaped mortal danger, Margaret was tortured again and finally beheaded by her persecutor. The youthful aspect and beauty of this figure would exclude the subject of Saint Martha of Bethany also victorious over a dragon , since she is generally represented as an older woman and almost always holds as her attribute the aspergillum, with which she defeated the monster, spraying him with holy water.
The extreme simplification of the image and the sense of emotional calm are perfectly consistent with the aesthetic canon of Borromeo, who sought the use of clear, didactic images to support his classicist revival, in stark antithesis with the prevailing direction of Milanese early Seicento art, dominated as it was by the compositional and still markedly Mannerist extremism of Cerano, Morazzone and Giulio Cesare Procaccini see F.
Roma, collezione privata XIX secolo.
Scampata a questa minaccia Margherita, dopo ulteriori supplizi, venne fatta decapitare dal suo persecutore. Giornata di studi, a cura di M. Rosci, Torino , pp.
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It was from these artists, but also from the youthful works of Daniele Crespi, with whom he was to share a good measure of stylistic choices, that Vermiglio drew his compositional arrangements, clear calibration of volumes and enraptured, adoring faces, which are also present in the painting before us. We are close in date to the Stories of Saint Innocenzo painted for the Lateran Canons of Tortona and now in the sacristy of the Cathedral there c. Giornata di studi, Turin , pp.