1632 Gian Lorenzo Bernini (1598/1680) for the baptism of a
daughter of Taddeo Barberini and Anna Colonna who used to live in this wing of
the palace
The floor
tiles date back to the eighteenth century
Creator and
supervisor of the decoration was Pietro Berrettini aka Pietro
da Cortona (1597/1669) who painted himself the splendid “Crucifixion” on the altar
“It is the
only scene entirely attributable to the master. It is possible to recognize
here an innovative language, able to evoke the classic models of antiquity,
giving them the vitality and energy of the present time” (Official website of
the Barberini Gallery - www. galleriabarberini.beniculturali.it)
RIGHT WALL
“Ascension”
by Pietro Paolo Ubaldini (about 1614/about 1684)
and lunette “Rest on the Flight into Egypt” by Giacinto
Gimignani (1606/81)
LEFT WALL
“Adoration
of the Shepherds” by Giovanni Francesco Romanelli
(1610/62) a from Viterbo and lunette “Holy Family” by Pietro
Paolo Ubaldini
ENTRANCE
WALL
“Annunciation”
by Giacinto Gimignani and lunette “St. Francis
of Paola crossing the sea” by Pietro Paolo Ubaldini
DOME
“Holy
Spirit and cherubs with the symbols of the Passion” by Pietro
Paolo Ubaldini and Giovanni Francesco Romanelli
Stuccos by
Simone Lagi who was often working for the
Barberini family
Room
XVII - Mannerist Painters
Vault: “Stories of Joseph son of
Jacob” 1583 Cristoforo Roncalli aka Pomarancio
(1552/1626) and Baldassare Croce (about
1553/1628)
These are
wonderful and visionary sketches by the Cretan artist whose real name was
Domenikos Theotokopoulos
“When El
Greco arrived in Rome, in 1570, was guest of one of the most influential
patrons of the time, Cardinal Alessandro Farnese, around whom there was a
lively circle of intellectuals and artists who were a challenging company for
the young painter. In Rome, the comparison with the great painters of the
Renaissance and Mannerist pushed the artist to process further his style, which
became more sculptural with the use of chiaroscuro. (...) The figures became
elongated and slender in an unnatural manner and proportions between characters
were often not respected: reconnecting to the Byzantine tradition, he painted
the scene so that the audience immediately would grasp the central elements. He
used strong colors and unusual hues (red blood, yellow gold), useful to
characterize the most important figures, dramatically illuminated by light
blows to impressive effect” (Eugenia Querci - Enciclopedia Treccani)
“Deposition of Christ” by Jacopino
del Conte (about 1515/98)
“Pietà ” by
an anonymous follower of Michelangelo, perhaps the mysterious Master of the Manchester Madonna
“The bath of Bathsheba” about 1573 by Jacopo Zucchi (about 1542/96), formerly believed lost
after the bombing of the Italian embassy in Berlin
“Beheading
of St. Paul” by Rutilio Manetti (1571/1639)
“Crucifixion
of St. Peter” by Ventura Salimbeni (1568/1613)
“Venus
mourning the death of Adonis” by Luca Cambiaso
(1527/85)
“Aware of
the art of Perin del Vaga and Pordenone, but also of Beccafumi, Cambiaso
softened later his forms marked by gigantic proportions and unusual
foreshortening of his early works with a personal version of the experiences of
Venetian painters in regard to color and lighting effects. (...) In 1583 he was
summoned by Philip II for the decoration of the Escorial” (Enciclopedia Treccani)
“Symposium on the shore of a lake” maybe by the Bolognese Giovanni
Andrea Danducci aka Mastelletta (1575/1655)
“Judith
with the Head of Holofernes” by Jan Metsys or Massys (about 1510/75) son and pupil of Quentin
Massys
He was
accused of heresy and banished from Antwerp, the city where he was born
“Agony of
Christ in the Garden” by Marcello Venusti (about
1512/79) with Christ represented twice
“St. Jerome
Penitent” by Girolamo Muziano (1532/92)
“The art of
Muziano, derived mainly to the Brescian school and in which there are
influences from Veneto, is characteristic for the fusion of various elements
from Michelangelo and Sebastiano del Piombo, all of which contribute measurably
to an eclectic style, very typical of the Roman culture of the late sixteenth
century” (Enciclopedia Treccani)
“Dead
Christ supported by an angel” about 1560 by the Flemish artist Jacob de Backer (about 1555/85) who lived in Rome from
1557 to 1560
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