ROOM 10
“Self-portrait with family” about 1709 by Giuseppe Chiari (1654/1727)
“Portrait of Catherine Valadier (daughter of Filippo
Della Valle and wife of Luigi Valadier) with his sons Joseph and Mary
Clementina Valadier as Latona and children Diana and Apollo” about 1766 by Giuseppe Bottani (1717/84)
“Self-Portrait with Bernardino Nocchi, father and
brother” by Stefano Tofanelli 1783 (1752/1812)
“The clear
and measured forms, defined on the basis of the proportions of classical
statuary, and the subtle interpretation of faces and feelings placed the
portrait in the more mature production of Roman neoclassicism, derived from the
portraits of Anton Raphael Mengs and Pompeo Batoni. (...) Even the choice of
clothing (...) seems to allude to the refusal of contemporary social codes, in
an atmosphere of brotherhood intellectual precursor of instances of the
nineteenth century” (Rossella Leone)
Plaster
sculpure “Self-Portrait” about 1799 and painting “Portrait of the Vitali Family” about 1790/98 by Antonio Canova (1757/1822)
“The plaster
bust is the original model of the great self-portrait of Antonio Canova (1812),
placed in the sarcophagus of the Temple of Possagno dedicated to him. The work,
which comes from the study of his favorite pupil, Adamo Tadolini, lets see the
'spots' for the translation in marble and provides an idealizing image of the
artist, destined to be handed down to posterity. From the bust, characterized
by the look to the sky and the half-open mouth, almost in an otherworldly
dimension, were taken several copies that the sculptor gave to friends and
admirers” (Official website of the Museo di Roma - www.museodiroma.it)
“Bust of Luigi Gonzaga of Castiglione” 1776 and “Bust of the poet Maria Maddalena Morelli Fernandez” 1776 by the Irishman Christopher Hewetson (about 1739/1797)
“Self-Portrait” about 1766 by Charles-Joseph Natoire (1700/77)
“Portrait of Catherine
Bishopp” 1757 by Joshua Reynolds (1723/92)
“Allegorical portrait of Gerolama Santacroce as
Vanitas”
1760 and “Portrait of John Staples” 1773 by Pompeo
Batoni (1708/87)
“He also
distinguished himself as a portraitist, required by the most distinguished
foreign guests, especially English. He inaugurated the kind of portrait of the
Enlightenment, by portraying the character in an elegant pose, random only in
appearance, in the background of landscapes and fragments of the ancient world.
He was admired by the English artists, especially Joshua Reynolds, who was in
Batoni's studio in Rome between 1750 and 1752” (Carlo Bertelli, Giuliano
Briganti, Antonio Giuliano)
“Self-Portrait of
Pompeo Batoni”
about 1774/87 copy by an unknown artist of the studio of Pompeo Batoni from the
original self portrait of the great master of the eighteenth century
“Portrait
of Giacinta Orsini” (arcade poet who died in childbirth only nineteen years
old) 1757/58 copy of Teresa Tibaldi from
original by Pompeo Batoni
“In line
with the circle of artists who worked for Pius VI (...) during the eighties,
his painting style became increasingly dramatized, opening up to a palette of
tones bright and earthy - it was the same chromatic path of Domenico Corvi -
and to restless faces with emphatic accents of expressionism” (Francesco Leone -
Dizionario Biografico degli Italiani Treccani)
“Roman and
Flemish Artists in a tavern” by the so-called Bamboccio Pieter Van Laer (about 1595/1642)
Extraordinary
painting “St. Camillus de Lellis rescues the sick at the S.
Spirito Hospital during the flood of the Tiber in 1598” 1746 by the French Pierre Subleyras (1699/1749). It was painted on the
occasion of the ceremony of canonization of St. Camillus de Lellis
“Painted at the time of full artistic maturity
of the artist, the image is one of the highest synthesis between the ideal of
classical forms and proportions and the representation of events and real
emotions. Nobility of the faces, simplified according to formulas Raphael,
gestures composed and without emphasis, accompany the drama of the episode that
culminates in the left half-naked body of the patient to the right, alluding to
a sacred deposition. (...) The obvious derivation from the group of Aeneas and
Anchises by Federico Barocci resolves in a classic and heroic key the uplifting
intent this picture of canonization was intended for” (Rossella Leone)
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