“Cardinal
Andrea Corsini used the room as a new Audience Hall and for this purpose he
placed here a series of paintings of great quality and indicative of his
aesthetic taste. The current exhibit, unable to reproduce the original layout,
includes a selection of works that entered the collection after the death of
Neri Maria (1770). The date in mosaic under the window (1858) recalls the
reconstruction of the floors in Venetian style” (Official Website of the
Galleria Corsini - galleriacorsini.beniculturali.it)
Marble sculpture
“Psyche carried by the Zephyrs” by the Welsh pupil of Canova John Gibson (1790/1866)
“St. John the Baptist” 1606 by Michelangelo Merisi aka Caravaggio (1571/1610)
“The figure
of three quarters of this precursor dark and handsome dandy turns his head out
of the field, observing something, while the intensity of his gaze, felt just
below the thick mass of hair, is perhaps the poetically higher moment of the
composition” (Vincenzo Pacelli)
“Madonna and Child” by Bartolomè Esteban
Murillo (1618/82)
“Undisputed
protagonist of the second half of the seventeenth century, he ushers in a new
pictorial language. He opposes to the local tradition a conventional narrative
representation made with delicate chiaroscuro, far away from the strong
contrasts of light of Zurbaran. His appearance on the scene of Seville was in
opposition to the current style, showing novelties from his knowledge of
contemporary Neapolitan and Genoese production. An anti-rhetorical vein
characterizes the production of religious subjects, where the sacred episodes
are similar to scenes from everyday life” (Carlo Bertelli, Giuliano Briganti,
Antonio Giuliano)
“Venus and dead Adonis” 1637 by Jusepe
de Ribera aka Spagnoletto (1591/1652)
“The
original myth told in Ovid's Metamorphoses is enriched from the fourteenth
century of new metaphorical meanings, which compare the figure of Adonis that
of Jesus. As G.B. Marino, who in his famous poem Adonis (1623) explicitly
alludes to the sacrifice of Christ, Ribera representing Adonis with an obvious
wound on the side takes up the theme of the Passion” (Official Website of the
Galleria Corsini - galleriacorsini.beniculturali.it)
“Entry of Christ in
Jerusalem” by Luca Giordano (1634/1705)
“Herodias with the Head of St. John
the Baptit” about
1625 by Simon Vouet (1590/1649)
“Particular
attention is paid to the material quality of fabric and to the expression of
the face of the protagonist, who shows his macabre trophy. Declined in the
painting are the many different stimuli and influences in the formation of the
French painter: the realism of Caravaggio's matrix on one hand, and the colors,
the drapery and the preciousness of the Venetian school on the other “(Official
website of the Corsini Gallery - galleriacorsini.beniculturali.it)
“Judith with the Head of Holofernes” by the Flemish painter Gerard Seghers (1591/1651)
“Annunciation” by Marcello
Venusti (about 1512/79). It is a copy of a lost original by Michelangelo
Buonarroti for the Cesi Chapel in S. Maria della Pace
“Tribute of money” by Mattia Preti (1613/99)
“St. George and the Dragon” by Francesco
Raibolini aka Francia (1450/1517)
“Sinite Parvulos” the Frenchman Nicolas
Tournier (1590/post 1657)
“Homer” by Pier Francesco Mola
(1612/66)
“Mary Magdalene” by Francesco Trevisani
(1656/1746)
“In Rome
since 1678 he got closer to the circle of Carlo Maratta and of the Arcadia,
developing a rococo style composed and refined, with tones graceful and
pathetic” (Enciclopedia Treccani)
“Nativity” about 1748 by Pompeo
Batoni (1708/87) with a spectacular frame
“Resurrection of Lazarus” by Giuseppe Cesari aka Cavalier d'Arpino (1568/1640)
“Madonna of the Rose” by Massimo
Stanzione (1585/1656)
“In Rome,
the knowledge of the works by Caravaggio and the Carraccis, as well as
Domenichino and Guido Reni (present in those years in Naples) led him to an
attempt to mediate between the two modes. Following the sharp naturalism of the
early works (...), looking at Simon Vouet and Guido Reni, he developed a style
characterized by elegant and refined shapes of color, light and bright tones.
Leading personality in Naples, he had a profound influence also in the opening
to the baroque, clear in his later works” (Enciclopedia Treccani)
“St. Peter freed by the Angel” by Johann
Heinrich Schoenfeld (1609/83)
“The
crowning with thorns” copy from
Antoon Van Dyck (1599/1641)
Panel “Madonna with Child, Saints and
scenes from the life of Christ” an early work by Giovanni di Jacopo di Guido aka Giovanni da Milano (active 1346/69)
Triptych “Madonna and Child, Saints and
Crucifixion” by the
Master of S. Verdiana (active 1370/1400)
“Madonna and Child” and “Madonna and Child with Sts. Jerome
and Francis” by an unknown artist of the Florentine school
“Triptych” by an unknown
artist of the Florentine school
“Madonna and Child” by an unknown
artist of the Viterbo-Umbrian school of the fifteenth century
“Still life with fish and shellfish” by the mysterious Neapolitan Marco de Caro (Eighteenth century)
“Still Life
with Peaches” and “Still life with peaches and grapes” by Jan Decker (Eighteenth century)
Above the
doors “Flowers and fruit (Autumn and
Winter)” and “Flowers and fruit (Spring and
Summer)” by the
Flemish Abraham Brueghel (1631/97)
Seven beautiful still lives by
the German Christian Berentz (1658/1722): “The elegant snack”, “Clock”, “The Fly”, “Roman Vegetables”, “Still life with Mascherone (Big
Mask)”, “Fruit”, “Preparations for Dinner” and “Casino dell’Aurora (Aurora Lodge)” where
it is possible to recognize the Aurora Casino of the
Ludovisi family
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