Wednesday, May 14, 2014


Pinacoteca Capitolina
The oldest public collection of paintings in the world founded in 1748 by Benedict XIV Lambertini (1740/58), advised by the cardinal Silvio Valenti Gonzaga, with the Collection Sacchetti of 187 paintings and expanded in 1750 with the Collection Pio di Savoia of 126 paintings in the new rooms especially built by Ferdinando Fuga (1699/1782) in 1749
Other acquisitions in late 1800s and early 1900s
Central Italy from the Middle Ages to the Renaissance
"Death and Assumption of the Virgin" about 1515 by Nicola Filotesio aka Cola dell'Amatrice (about 1480/1547) from the church of S. Domenico in Ascoli Piceno
"Even here Filotesio boasts a style based on mixing the art of Raphael, Leonardo and Pedro Fernandez, with results that have been defined anticlassical (Zeri, 1971) or carriers of heterodox instances anyway (Cannatà 1991). Worthy of note is the landscape in the back of the painting characterized by 'the more mysterious and powerful neoprospectic landscape paintings from those years' (Volpe 1984)" (Roberto Cannatà - Dizionario Biografico degli Italiani Treccani)
"Trinity" by Niccolò di Pietro Gerini (news in the years 1368/1416) in the lower part of the painting it also represented the buyer Francesco Datini, wealthy merchant of Prato, with his wife and daughter
Five panels with "Episodes of the infancy of Christ" 1378 by the Maestro di Campli painter active between Abruzzo and Lazio regions, indicative of the spread of Giotto's art even in smaller towns
Two half-length figures of saints "St. Bartholomew" and "St. Magdalene" about 1530 by the painter from Siena Bartolomeo Bulgarini (news in the years 1337/78)
"Presentation in the Temple" started by Francesco Raibolini aka Francia (1450/1517) and finished by Bartolomeo Passerotti (1529/92)
"The work was originally destined for the church of S. Domenico in Reggio Emilia and the artist from Bologna Francesco Francia had begun to paint in 1514. The work was soon interrupted and resumed several years later by another painter from Bologna, Bartolomeo Passerotti, who completed the picture with some modifications, including the original figure of the buyer who was on his knees transformed into a St. Jerome" (Web site of the Capitoline Museums -
Large oil painting "Madonna with Child and Saints" 1513 by the Lucchese Agostino Marti (about 1482/1540) for Alberico Malaspina lord of Carrara
Oil on panel "Madonna and Child with Saints Nicholas of Bari and Martin of Tours" about 1496 by Gian Giacomo Alladio aka Macrino d'Alba from Piedmont (about 1470/1528). Probably painted during a short stay in Rome, which is represented in an imaginative landscape in the background
The sixteenth century in Ferrara
"Because of its geographical location - in the northeastern part of the Emilia-Romagna, a short distance from the sea - the city had of course close cultural relations with Venice, Padua and Bologna and in the fifteenth century it had become one of the main centers of Italian art. The painters of Ferrara, in particular in the first half of the sixteenth century, gather in their style proposals from both Venetian painting (in particular the use of color) and from Bolognese painting, from which they absorb formal elegance. Following the conquest by the State of the Church in 1598 the artistic heritage of Ferrara was literally ransacked and numerous paintings from the Este collections became part of the Roman collections" (Web site of the Capitoline Museums -
"Annunciation" 1528 and "Madonna with Child in Glory" 1512/13 by Benvenuto Tisi aka Garofalo (about 1481/1559)
"Holy Family" about 1527 by the brilliant Giovanni Luteri aka Dosso Dossi (about 1486/1542)
"Flight into Egypt" about 1594 and "Adoration of the Magi" about 1600 by Ippolito Scarsella aka Scarsellino
Venice and its territory in the sixteenth century
"Baptism of Jesus" about 1512 by the great Venetian master Tiziano Vecellio (Titian) (about 1490/1576)
"Early painting by Titian where its buyer, Giovanni Ram, a Spanish merchant who lived in Venice, is depicted in the lower right, while witnessing the sacred scene, which opens onto a delicate landscape. The white and red of the cloth in the lower left part of the painting focus the attention and set the distances" (Web site of the Capitoline Museums
"Fortress" and "Temperance" ceiling panels about 1556, "Ascension" and "The Rape of Europa" by Paolo Caliari aka Veronese (1528/88)
"The author of what it will later be referred to as the 'doing big' of Venetian painting, Veronese combines formal elegance with a relaxed and innovative use of color, as in the great painting of the Rape of Europa (autographed replica of a work of the same subject now kept in the Palazzo Ducale in Venice), where the myth - the young Europa being abducted by Zeus in the form of a bull, and carried across the sea to the land that you will get her name - is represented in all of its phases, focusing particularly on the sensual figure of Europa, richly dressed" (Web site of the Capitoline Museums -
"Portrait of a crossbowman" 1552 by Lorenzo Lotto (about 1480/1556)
"Christ and the adulteress" by Jacopo Negretti aka Jacopo Palma il Vecchio (about 1480/1528)
"Portrait of a Woman" about 1525 by Giovanni Girolamo Savoldo (about 1480/1548). Savoldo represents the woman next to a small dragon as St. Margaret, patroness of childbirth. Excellent example of his luminous silkiness and of his attention to detail and realism of the yet incredible representation
"Flagellation", "Crowning with Thorns", "Baptism of Jesus" and "Penitent Magdalene" by Domenico Robusti aka Tintoretto (1560/1635) son of the more famous Jacopo
"Good Samaritan" about 1540/50 by Jacopo da Ponte aka Jacopo Bassano (about 1510/92)
Sixteenth century styles in Rome
"Diana and Endymion" 1660 by Pier Francesco Mola (1612/66) native of Canton Ticino in Switzerland
"A serene contemplation of nature is evident in Diana and Endymion painted for Bonaventura Argenti, a friend of Mola and famous musician for the papal chapel, for whom Mola worked on several occasions. The theme of the subject is masterfully played by Mola who manages to combine Carracci's models, the lunar atmosphere by Guercino and enchanted moments of the poetic fables of Poussin. Similar are the Bacchus of the Galleria Spada in Rome and the Boy with the dove (Toronto, Art Gallery of Ontario)" (Laura Possanzini - Dizionario Biografico degli Italiani Treccani)
"Erminia among the shepherds" by Giovanni Lanfranco (1582/1647) the most Baroque among the many Emilian painters active in Rome in the first half of the seventeenth century
"The poem of Tasso was well known and what the shepherd says to the girl dressed in the arms of Clorinda sent back to the meaning which had long been the goal of pastoral literature, namely insecurity and vanity of glory, futility of worldly conflicts, peace that is only to be found in simple things, in contact with nature. In his painting Lanfranco did not use the history of Erminia as a pretext for the landscape nor insisted on the pastoral atmosphere. He sought instead to create the atmosphere of the evening (the projection of the melancholic mood of Erminia) of the woods, in the back, which becomes a black and indistinct mass against the dim light that still lingers in the sky" (Giuliano Briganti - 1985)
"Moses drawing water from the rock" about 1642 and "Adoration of the Golden Calf" about 1642 by François Perrier (1590/1650) one of the twelve founders of the Académie royale de peinture et de sculpture, the French Royal Academy of Painting and Sculpture
"Triumph of Flora" maybe by Nicolas Poussin (1594/1665)
"David and Goliath" about 1639 by Guillaume Courtois aka Borgognone (1628/79)
The sixteenth century in Emilia
"A precious testimony of the variety of artistic production which, alongside the great works for churches and public and private palaces, included smaller works for smaller rooms as well as copies of famous works, at the time in great demand from the market. Paintings of this type have had a fundamental role in the dissemination of new artistic proposals and to allow the study of the great masters of entire generations of young artists" (Web site of the Capitoline Museums -
"Diana the huntress" about 1601 and "St. Anthony"1635 by Giuseppe Cesari aka Cavalier d'Arpino (1568/1640)
"Our Lady of Albinea" copy of the lost the original by Antonio Allegri aka Correggio said (1489/1534) formerly in the church of S. Prospero in Albinea in the province of Reggio Emilia
"Dispute of St. Catherine of Alexandria" by Prospero Fontana (1512/97) father of the painter Lavinia Fontana
"Mystic Marriage of St. Catherine of Alexandria" about 1595 by Pietro Faccini (about 1562/1602)

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