Wednesday, March 22, 2017

ARMY PALACE

PALAZZO ESERCITO
1875/89 as MINISTRY OF WAR
Today it is the headquarters of the ARMY STAFF AND THE GENERAL SECRETARIAT OF DEFENSE
Large MILITARY CENTRAL LIBRARY with books mainly of military subjects
More than 120,000 volumes and 1,000 journals both Italian and foreign as well as about 1,200 antique books
In the basement is partially preserved the BUNKER where on the night between 8 and 9 September 1943 general Pietro Badoglio and members of the Italian royal family came from the nearby Palazzo del Quirinale to escape the chaos that followed the armistice between the Italian government and the Allied Forces
On the other side of Via XX Settembre there are four palaces built during the same period:
PALAZZO BOURBON 1884 at No. 3 and PALAZZO CALABRESI 1882 at No. 5 by Gaetano Koch (1849/1910)
PALAZZO BARACCHINI 1886 at No. 8 and PALAZZO CAPRARA 1884 at No. 11 by Giulio Podesti (1857/1909)

Tuesday, March 21, 2017

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (seventh part)

Velvet Room
The room was so named for the late eighteenth-century Genoese wallpaper
“Hagar and the Angel” recently attributed to the unknown Genoese Pasquale Chiesa (active in Rome about 1562) who also worked on the “Sacrifice of Isaac”
“Hagar and the Angel” by Mattia Preti (1613/99)
“Painting, sculpture and architecture” 1713 by Marco Benefial (1684/1764)
“Cain and Abel” by Niccolò Tornioli (1598/1651) from Siena
Busts of “Innocent X” and “Benedetto Pamphilj” (or perhaps Pamphiljo?) by Alessandro Algardi (1598/1654)
Ballroom and Small Ballroom
Completely redecorated in 1903
In the small ballroom: “The tribute of money” by Mattia Preti (1613/99)
Chapel
1689/91 Carlo Fontana (1634/1714) and modified by Francesco Nicoletti (?/1776) in the second half of 1700s and by Andrea Busiri Vici (1818/1911) in mid-1800s
Ceiling “Coronation of the Virgin Mary” by Tommaso Minardi (1787/1871)
Bodies of two saints: the Roman martyr S. Giusto, traditionally called the Centurion, and S. Teodora
“Ivory Crucifix” by Ercole Ferrata (1610/86)
ROOM G (Bookshop)
“Landscape with deer hunting” and “Landscape with hare hunting” by Paul Brill (1554/1626)
Private Apartment
SMALL ROOM OF MIRRORS
Designed by Francesco Nicoletti (?/1776)
It was the toilet room of Leopoldina of Savoy, wife of Prince Andrea IV in 1767
Ceiling and panels above the doors painted by the Roman Stefano Pozzi (1699/1768)
RED ROOM
It was the old bedroom
Ceiling “Jacob's Dream” by Pietro Angeletti (about 1737/98)
In the middle “Cradle” in carved and gilded wood
YELLOW ROOM
“Tapestry” about 1795 by the Gobelins factories with allegories of the zodiac signs
Ceiling “Rebecca at the Well” by Gioacchino Agricola (known 1758/85)
GREEN ROOM
Ceiling “David and Abigail” by Domenico Corvi (1721/1803) from Viterbo
“View of St. Mark's Square in Venice” by Josef Heintz the Younger (about 1600/78)
BLUE ROOM
Family portraits of the nineteenth century by Antonio Capalti
Ceiling “Hagar and the Angel” by Pietro Angeletti (about 1737/98)
THRONE ROOM
Twenty-three paintings of “Landscapes” by Crescenzio Onofri (1632/1712)
Ceiling “Sacrifice of Iphigenia” by Gioacchino Agricola (known 1758/85)

Monday, March 20, 2017

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (sixth part)

Fourth Corridor
“Bust of Olimpia Maidalchini Pamphilj” masterpiece by Alessandro Algardi (1598/1654)
“Unlike Bernini who chooses a transitory moment, Algardi represent his model with the mouth closed, in a state of permanence and peaceful existence. Even the most meticulous attention to detail, down to the wrinkles and warts, and how skilled to treat the skin, hair and fur, you do not need to give these portraits the dynamic vitality of those by Bernini. Compared to Bernini, who never loses sight of the whole in which each part is subject, the busts of 'Algardi seem aggregates of an infinite number of accurate observations made before the model “(Rudolf Wittkower)
“Susanna and the Elders” recently attributed to Annibale Carracci (1560/1609) after it has been believed for a long time by Domenichino
“Landscape with Ford” about 1605 by Domenico Zampieri aka Domenichino (1581/1641)
“In the landscaping genre Domenichino, free from selective rigors, approached the truth of nature. Even if similar to Annibale Carracci's style, this ideal landscape presents vivid realistic notations” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“St. Joseph” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Angel with tambourine” by Tiziano Vecellio (Titian) (about 1490/1576)
“Sorrowful Madonna” by Francesco Trevisani (1656/1746)
“Lady Penitent” by Luca Cambiaso (1527/85)
“Agony in the Garden” by Marcello Venusti (about 1512/79)
“Madonna and Child with Sts. Catherine and Bernard” by Ludovico Carracci (1555/1619)
“Nativity” and “Madonna and Child” by Francesco Mazzola aka Parmigianino (1503/40)
“Penitent Magdalene”, “St. John the Baptist” and “Concerto” by Mattia Preti (1613/99)
“Four Allegories of the elements”: fire, air, earth and water by Jan Brueghel the Elder (1568/1625) (son of Pieter Brueghel the Elder) and Hendrick van Balen (1575/1632)
In addition “Madonna and Child with animals”, “Paradise on Earth with original sin”, “Landscape with the creation of man”, “Landscape with Temptation of St. Anthony”, “Landscape with a vision of St. John on Patmos” and “Landscape with foundry” also by Jan Brueghel the Elder
“St. Paul” by Giacinto Brandi (1621/91)
“St. Peter Penitent” and “Liberation of St. Peter” by Sisto Badalocchio (1585/1645)
“Battle scene” and “After the Battle” by Jacques Courtois aka Borgognone (1628/79)
“Sacrifice of Isaac” by Jan Lievens (1607/74)
“Christ and the Doctors” by Ludovico Mazzoli aka Ludovico Mazzolino (about 1479/about 1529)
“Erminia among the shepherds” by Giovanni Francesco Romanelli (1610/62)
“Rest on the Flight into Egypt” by Simone Cantarini (1612/48)
“Bust of Pope Innocent X” about 1650 by Gian Lorenzo Bernini (1598/1680). The crack led Bernini to replicate it with the one now in the Cabinet of Velásquez
Poussin Hall
Twenty-four “Landscapes” including “Landscape with Lucan Bridge” by Gaspard Dughet (1615/75) also known as Poussin for being part of the family of his master Nicolas Poussin (1594/1665): he was his brother-in-law (brother of Poussin's wife) and his adopted son
Seven were carried out in collaboration with the painter of figurines Guillaume Courtois aka Borgognone (1628/79) brother of Jacques Courtois he said Borgognone
“Dughet was the first to apply the technique of fresco to the landscape genre and could use large spaces, in churches or palaces, to carry out his views. Assimilating the new Baroque spirit, he emphasized the decorative aspects of the representation which gave spectacular effects of infinite space; despite having a classical figurative culture, Dughet mediated the rational spirit with the search for expressive and picturesque accents” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
Other landscapes by Flemish artists such as Herman Van Swanevelt, Jan Baptist Weenix and Jan de Momper (1614/84)

Sunday, March 19, 2017

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (fifth part)

Second Corridor or Gallery of Mirrors
1731/34 Gabriele Valvassori (1683/1761)
Ancient statues completed arbitrarily by restorers
Ceiling fresco “Fall of Giants”, “Stories of Hercules” and “Allegory of the four parts of the world” 1731/34 by Aureliano Milani (1675/1749)
“It is a culmination of the Carracci influence on Milani, having the decoration of the Farnese Gallery as an essential point of reference. It is, therefore, a work entirely referring to the past, from the reprise of the fake frames scheme, essentially isolated and anomalous in the panorama of contemporary Roman painting, and indeed in strong contrast with the novelties of Sebastiano Conca and Luca Giordano. According to Zanotti, Milani, 'having been able to choose the subjects of his stories, chose muscular, naked and proud men which here constitutes the sum of his knowledge' (p. 165): there was actually no iconographic link between episodes of Fall of Giants and those with Hercules as the protagonist, and Milani's obsession for depiction of nudes here reaches paroxysm” (Stefano Pierguidi)
“Passage of the Red Sea” by Antonio Tempesta (about 1555/1630)
Cabinet of Velásquez
“Portrait of Pope Innocent X Pamphilj (1644/55)” by Diego Rodriguez de Silva y Velásquez (1599/1660)
“Bust of Pope Innocent X” about 1650 by Gian Lorenzo Bernini (1598/1680) replicated immediately after a previous version now in the fourth corridor had shown a crack
First Corridor
“Landscape with the Flight into Egypt” 1603/04 for the now demolished Chapel of the Palazzo Aldobrandini and “Landscape with Mary Magdalene Penitent” by Annibale Carracci (1560/1609) who maybe also painted a “St. Jerome”
“Annibale, first among the seventeenth-century interpreters of classical style, started up, in the last years of his intense activity, a new figurative conception of landscape painting. Flight into Egypt is the archetype of the classical ideal landscape. That classicist poetics that had inspired figure painting and art history and which had underlined the search for truth and beauty, now involves the concept of nature. This balanced and rational interpretation of space is a mirror of a classical path of idealization. Nature too is pervaded by the inspiration of beauty; through a complex, sentimental and poetic relationship nature becomes part of life, of history, of humanity. The landscape becomes ideal as home of the myths of humankind” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Madonna and Saints in Glory” and “Holy Family” by Benvenuto Tisi aka Garofalo (about 1481/1559)
“Landscape with the creation of animals” formerly lid of a spinet maybe by the Belgians Roelandt Savery (1576/1639) and Hendrick van Balen (1575/1632)
“Landscape with figures dancing”, “Landscape with Diana, Cephalus and Procris,” “Landscape with Apollo and Mercury stealing the sheep of Admetus” and “View of Delphi with a procession” by Claude Lorrain (1600/82)
“He continued the nobilitation of nature in art, he had an extraordinary immediate relationship with the Roman countryside which he studied in depth. Lorrain was a master in interpreting the mutability of light depending on the season and time of day, and he always adopted a thoughtful compositional arrangement of these naturalistic elements” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Polyphemus and Galatea” by Giovanni Lanfranco (1582/1647)
Five lunettes with landscapes and stories from the New Testament:
“Assumption” “Visitation,” “Deposition of Christ,” “Adoration of the Shepherds” and “Adoration of the Magi” drawn by Annibale Carracci but completed by Francesco Albani (1578/1660)
“The Holy Family with Saints Catherine and Cecilia” also by Francesco Albani
“Christ in the Pharisee's house” by Ludovico Cardi aka Cigoli (1559/1613)
“Landscape with old blind Tobias” by Pietro Paolo Bonzi aka the Hunchback of Carracci (about 1576/1636)
“Venus, Mars and Cupid” by Paris Bordon (1500/71)
“Fight of putti” by Andrea Podestà (about 1608/before 1674)
“Erminia finds Tancred wounded” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“S. Rocco leper cured by the Angels” by Carlo Saraceni (1579/1620)
“The chromatic sensitivity, expressed through bright colors and detectable in works like this, resolved Caravaggio's luminosity in tonal and naturalistic sense; light effects agreed on gradual color tones, in fact, derive from a natural reality and give the subject psychological tension. Saracens was the only artist of Venetian training, as well as the experiences of some artists from Verona, to be engaged in the Caravaggio research and, however, his clear palette and the frequent outdoors scenes consistently reaffirmed his background” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Rustic Feast” maybe by David Teniers the Younger (1610/90)
“Woman getting read of fleas” by the so-called Master of the Candle
“Dido” by Giovanni Luteri aka Dosso Dossi (about 1486/1542)
“The usurers” by the Belgian Quinten Massys (1466/1530)
“Deposition” by an artist of the school of Paolo Caliari aka Veronese (1528/88)
“Portrait of Agatha van Schoonven” by Jan Van Scorel (1495/1562)
“It is among the most known works of the great Dutch artist, among the first to 'become Roman' with a trip to Italy. Protected by Pope Adrian VI (1522/23), he obtained a canonry in Utrecht, where he lived with his young girlfriend portrayed here. It is a rare example of affective portrait of an artist's woman. (...) For this and for the excellent quality of execution, the work has been widely featured in the literature. It was stolen by a thief dressed as a friar, who replaced it with a copy, only to be found soon after” (Official Website of the Galleria Doria Pamphilj - www.dopart.it)
“St. Jerome in Penitence” by Domenico Beccafumi (1486/1551)

Friday, March 17, 2017

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (fourth part)

Room of the 1600s
“Still life with oysters, flowers, fruits and animals” and “Still life with flowers, fruits and animals” by Jan van Kessel the Elder (1626/79)
“Sleeping Endymion” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Daedalus and Icarus” maybe by Andrea Sacchi (1599/1661)
“Penitent Magdalene” 1594/95 by Michelangelo Merisi aka Caravaggio (1571/1610)
“It didn't even look like a religious painting: simply the study of a common modern girl sitting on a low wooden chair intent on drying her hair. Where was the meaning? Where the prostitute repentance, her suffering, the promise of salvation? That single barely visible tear that ran down her nose seemed insufficient. (...) The broken string of pearls and other ornaments looked like having been ripped, not forsaken by herself, and more than the regret and renunciation of the holy prostitute, they reminded the punishment given to courtesans in Rome, the lashes that a girl was threatened to get from the police” (Peter Robb)
“Rest on the Flight into Egypt” about 1596/98 another great masterpiece by Caravaggio
The music of the lullaby that the angel holds in his hands is Quam pulchra es with words from the Song of Songs and music of the Flemish Bauldewyn, symbolizing the mystical marriage between Christ and the Virgin, and therefore between Christ and the Church
“In this work, the feeling of the divine and the feeling of reality live together in perfect harmony. Structure, still that of the juvenile phase, has the space developed in parallel levels within which the shapes are clearly outlined almost flat. Light here is not creator of forms, but as an element to give extreme clarity to the scene: it is falling on the Angel and it enhances the whiteness of the veil and it is spread instead on the faces of the characters. This canvas can be considered one of the first statements anti-mannerist style against the religious bombast of Roman painting official” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Seven Mother and Child by Caravaggio remain, and, for how the face, the body, the movements of the newborn, and the way in which the mother is holding him, were seen by the painter, none of the other hundreds of thousands of images of this kind produced in Italian painting would have ever surpassed them” (Peter Robb)
“Sibyl” by Massimo Stanzione (1585/1656)
“St. Sebastian” by Ludovico Carracci (1555/1619)
“Portrait of a Franciscan friar” maybe by Pieter Paul Rubens (1577/1640)
“Marina rock arch” by Salvator Rosa (1615/73)
Room of the 1500s
“Salome with the Head of John the Baptist” by Tiziano Vecellio (Titian) (about 1490/1576)
“The field where the penetration and psychological confidence of Raphael are more happily combined with his sense of subtle values, subdued ranges, is the portrait. (...) In these portraits of writers Raphael seems to have expressed himself representing more an ideal than a character: the vocation of poetry and love. The authority of the artist has so created a sort of portrait-type” (André Chastel)
“Portrait of a couple” by Sofonisba Anguissola (about 1531/1626)
“Portrait of a Young Gentleman” by Jacopo Robusti aka Tintoretto (1518/94)
“Return of the Prodigal Son” by Francesco da Ponte aka Bassano the Younger (1549/92) and Jacopo da Ponte aka Jacopo Bassano (about 1510/92)
“Portrait of Niccolò Machiavelli” by Cristofano dell'Altissimo (?/1605)
“Portrait of Girolamo Beltramoto” circle of Giovanni Luteri aka Dosso Dossi (about 1486/1542)
Room of the 1400s
“Pietà (Mercy)” and “Massacre of the Innocents with Rest on the Flight into Egypt” by Ludovico Mazzoli aka Ludovico Mazzolino (about 1479/about 1529)
“Madonna and Child” by an artist of the school of Antonio Aquili aka Antoniazzo Romano (about 1435-40/1508)
“Holy Family” and “Visitation” by Benvenuto Tisi aka Garofalo (about 1481/1559)
“Nativity with Sts. Francis, John the Baptist and Mary Magdalene” by Giovanni Battista Benvenuti aka Ortolano (1487/after 1524)
“Sts. Anthony Abbot and James the Apostle” and “Sts. Christopher and John the Baptist” by Bicci di Lorenzo (1373/1452)
Two “Stories of St. Anthony Abbot” and “Temptation of St. Anthony” by Bernardo Parentino (1434 or 1437/1531)
“The triptych is dated in the mature phase of the master, in the ninth decade of the fifteenth century, when he was at the court of Mantua. The panels, perfectly preserved, have a strong relationship with Andrea Mantegna and the relief with putti reminds of a sarcophagus painted by an artist in the circle of Squarcione. Moreover Bernardo himself executed drawings inspired from ancient artworks very similar to the works of Mantegna and of the circle of Squarcione, while some torment in the contours also recalls the works of Cosmè Tura and Ercole de' Roberti from Ferrara” (Official Website of the Galleria Doria Pamphilj - www.dopart.it)
“Two old men in prayer (the hypocrites)” by the Belgian Quinten Massys (1466/1530)
“Marriage” and “Birth of the Virgin Mary” by Giovanni di Paolo (about 1400/82)

Tuesday, March 14, 2017

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (third part)

Third Corridor
“Allegory of Virtue” by Antonio Allegri aka Correggio (1489/1534)
Beautiful unfinished painting that was perhaps a source of inspiration for the sculpture by Gian Lorenzo Bernini Truth Unveiled by Time also unfinished
“Landscape with rest of the flight into Egypt” by Claude Lorrain (1600/82)
“The Holy Family with Saints Elizabeth and John the Baptist”, “Holy Family with Saints Joachim and Anna” and “Marriage of St. Catherine of Alexandria” by Benvenuto Tisi aka Garofalo (about 1481/1559)
“Penitent Magdalene” by Domenico Fetti (1589/1623)
“It caused a stir this sober and remorseful prototype of great fortune, (...) loose, nervous, impeccable union of Rubens' style and Venetian color scheme” (Gabriel Milantoni - Dizionario Biografico degli Italiani Treccani)
“Juno sets Argo's eyes in the peacock's tail” by Orazio Riminaldi (1593/1630) from Pisa
“St. Francis in Ecstasy” by Francesco Albani (1578/1660)
“St. Jerome” by Lorenzo Lotto (about 1480/1556)
“Study of head (St. Jude?)” by Federico Fiori aka Barocci (1535/1612)
“Barocci had a real passion for the subtle gradations ranging from clearer and brighter gray until the purest white, for the more transparent color of complexion and especially for the refractions of the color tone through the poignant intensity of light. Sometimes his works remind of pastel paintings magnified” (Hermann Voss)
“Return of the Prodigal Son”, “St. John the Baptist in the desert” and “Martyrdom of St. Agnes” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Boy with bat in hand”, “Girl pouring oil from a lamp”, “Young singer” and “Young singer crowned with laurel” of the Master of the Candle (first half of 1600s)
“Satyr and Shepherd” maybe by Annibale Carracci (1560/1609)
“Madonna adoring the Child” and “Fight of Putti” by Guido Reni (1575/1642)
“Woman with a lamp” and “Man with oil lamp” by Wolfgang Heimbach (about 1615/about 1678)
“Battle in the Port of Naples” and “Garden of Eden” by Pieter Brueghel the Elder (1526-31/1569), father of Jan Brueghel the Elder
“Christ led to Calvary” by Alessandro Allori aka Bronzino (1533/1607) pupil of Agnolo di Tori Cosimo aka Bronzino
“Crucifixion” by Marcello Venusti (about 1512/79) from a lost original by Michelangelo Buonarroti
“Holy Family” and “Madonna in prayer” by G.B. Salvi aka Sassoferrato (1609/85)
“The great popularity of inventions by Sassoferrato painting comes from the ability to create images of essential beauty and immediate emotional perception. Accordingly he stands on the continuation of Scipio Pulzone from Gaeta and on the line of his great Florentine follower Carlo Dolci” (Maria Antonietta De Angelis)
“Adoration of the Shepherds” by Francesco da Ponte aka Bassano the Younger (1549/92)
“Madonna and Child with St. John the Baptist” by Giovanni Bellini (about 1432/1516) and workshop
“Seascape with shipyard and good luck” by Agostino Tassi (1578/1644)
“Allegory of Taste” by Giovanni Francesco Romanelli (1610/62) from Viterbo, a pupil of Pietro da Cortona
“Garden of Eden” by Jacopo da Ponte aka Jacopo Bassano (about 1510/92)
“Preaching of St. John the Baptist” by Giuseppe Passeri (1654/1714)
“Birth of the Virgin Mary” by Francesco Trevisani (1656/1746)
“Bust of Pope Innocent X” by Alessandro Algardi (1598/1654)
Room of the 1700s
Two “Views of Venice” by Gaspar van Wittel (1653/1736)
Great painter Dutch landscape painter who worked for the Colonna family. He had his name translated in Italian as Vanvitelli and was the father of the great architect Luigi Vanvitelli
“He was perhaps the first true 'landscape painter' of art history. Often remembered as a forerunner of Italian Giovanni Antonio Canal, called Canaletto, the Dutch painter is famous for his so-called exact views of many Italian cities and landscapes, to which Canal himself will refer to. Like Canaletto later, (...) Gaspar made extensive use of the camera obscura, a pre-photographic tool strikingly modern at that time, which allowed the artist to have before his eyes the reflection of the inverted image to paint. It was a portable cabin, completely blacked out, with a hole at the top and a mirror which, when tilted, projected inside the room, the live image, an 'exact' vision of the subject that the artist painted and modeled on” (Paolo Gallinaro - ilmediano.it)
“Magdalene” by Sebastiano Conca (1680/1764)
Four “Landscapes”, formerly panels placed above doors, by Paolo Anesi (1697/1773)

Saturday, March 11, 2017

DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (second part)

GALLERIA DORIA PAMPHILJ
This splendid private collection is taken good care of by the Doria Landi Pamphilj family who still lives in the building and owns the works
The exhibition is well maintained and the splendor of the rooms invariably provokes amazement and admiration in the visitors
A gallery with magnificent and spectacular exciting peaks such as the Rest on the Flight into Egypt by Caravaggio, the Double Portrait by Raphael, Susanna and the Elders by Annibale Carracci and the extraordinary Portrait of Innocent X, the member of the family who became pope, by Velásquez
Aldobrandini Room
Restored in 1956 after the collapse of the roof due to snow
There are ancient statues found mainly in Villa Pamphilj:
“Sarcophagus with Selene and Endymion”
“Odysseus under the ram”
“Bacchus” in porphyry marble restored by Alessandro Algardi (1598/1654)
“Centaur” in polychrome marble found in the mid-1800s in Albano in one of the residences of the Pamphilj
Marble relief with putti “Amor sacred profane love breaks down” about 1630 by François Duquesnoy (1597/1643)
“In the representations of cherubs he really gave something of the soul of children and he molded their bodies so round, soft and delicate that they seem to be alive and breathing. It was Duquesnoy's conception of the child which became a general European property and, consciously or unconsciously, the majority of the following representations of children derived from him” (Rudolf Wittkower)
Paintings:
“Descent from the Cross” by Giorgio Vasari (1511/74)
It was bought by Camillo Pamphilj in 1661 from the church of S. Augustine where he had funded some works
“Gale at sea” by the school of Pieter Mulier
Seventeenth-century copy of the old “Aldobrandini Wedding” now in the Vatican Museums
“Sacrifice of Noah” by Ciro Ferri (1634/89)
“Landscape with rest of the flight into Egypt” by Pier Francesco Mola (1612/66)
Green Room
“Annunciation” about 1445/50 by Filippo Lippi (about 1406/69)
“Typical example of telescope perspective which limits the space to the visual field and organizes it in function of the transmission of light. But, in turn, light must have internal sources in the framework, and is therefore produced by the opposed intensification of light and dark as well as by the relationship between the colors” (Giulio Carlo Argan)
“Mystical Marriage of St. Catherine” by Domenico Beccafumi (1486/1551)
“Battle of Castro” by Jacques Courtois aka Borgognone (1628/79)
“Crucifixion” from Michelangelo maybe by Annibale Carracci (1560/1609)
“St. Joseph” and “Allegory of Spring” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Circumcision” school of Giovanni Bellini (about 1432/1516)
“Christ Carrying the Cross” by Sebastiano Luciani aka Sebastiano Del Piombo (1485/1547)
“In the years following the sack of Rome Sebastiano reaffirmed in sacred painting the needs of piety and austerity that some circles were shown to agree with before their official affirmation, which took place at the Council of Trent. Christ Carrying the Cross, repeatedly replicated by Sebastian is an early example of this religious feeling that inspired devotional images drawn up according to a severe style, convenient to the tragedy of the Roman climate shaken by the terrible story of the sack” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Flood” by Carlo Saraceni (1579/1620) and Jean Le Clerc (about 1585/1633)
“Religion rescued from Spain” by Tiziano Vecellio (Titian) (about 1490/1576) and workshop
“Portrait of a man of thirty-seven” perhaps self-portrait of Lorenzo Lotto (about 1480/1556)
“In Venice painting kept true to the more mature and reflective spirit which had succeeded the luminous vapors to the early Renaissance. A spirit that led artists to see life with less enthusiasm and less illusions. Quieter pleasures were sought: the pleasures of friendship and sincere affection. It is not surprising that the Venetian artist who first expressed these new attitudes, was one who had been brought into contact with the miseries of Italy during long journeys, as it was not possible to those who stayed in Venice. Lorenzo Lotto, at his best, do not celebrate the dominance of man over things that surround him, but, in altarpieces, and even more in portraits, shows us people who needs to be comforted and supported, either by religion or by healthy ideologies, friends and loved ones. His figures look from the canvas almost asking for benevolence” (Bernard Berenson)
“St. Jerome” by Jusepe de Ribera aka Spagnoletto (1591/1652)
“Bust of Pope Innocent X” by Domenico Guidi (1625/1701)