Wednesday, August 10, 2016


Room VII - Green Room
“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 -
Marble sculpture “Psyche carried by the Zephyrs” by the Welsh pupil of Canova John Gibson (1790/1866)
Marble sculpture “Dancer with Finger on her Chin” by Luigi Bienaimè (1795/1878)
Precious “Corsini Cup” in silver dating back to the first century BC
“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 -
“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 -
“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)
Panel with “Coronation of the Virgin Mary” by Andrea di Cione aka Orcagna (active 1343/68)
Two panels long and narrow with “Apostles” by the Venetian Niccolò di Pietro (active 1394/1430)
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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