Tuesday, August 2, 2016


Room IV - Room of the Fireplace
“The room owes its name to the presence, at the time of the Corsini family, of a fireplace in Ginori porcelain embedded in the center of the northern wall, where now is Christ and the adulteress by the Venetian Rocco Marconi. Known in the documents as 'Room of Mirrors' or 'Great Room', the setting was intended to function as a cabinet: a place of study and meditation of the cardinal and private audience hall in which were received guests who arrived after crossing the magnificent gallery of representation (Room III)” (Official website of the Corsini Gallery - galleriacorsini.beniculturali.it)
At the center of the room ancient “Corsini Throne” second or first century BC
It was found in the years 1732/34 during the excavations to build the Corsini Chapel in the Basilica of St. John Lateran
Marble sculptures “Genius of Hunting” and “Genius of Fishing” by Pietro Tenerani (1789/1869)
Two small bronze statues “Diana the Huntress” and “Adonis” by the Florentine Antonio Montauti (1685/1740), sculptor appreciated by the Corsini family
“Christ and the Adulteress” by Rocco Marconi (known from 1504/d. 1529)
“It has long been debated about the role of Marconi in the artistic context of the lagoon after the conclusion of the Bellini experience, assessing the degree of reception and involvement in the trends that developed under the influence of Giorgione, Titian and Sebastiano del Piombo. Against an overall reductive judgment of the capacity of Marconi to adapt to the new guidelines, expressed by Ansaldi and Garas and taken up by De Vecchi (...), later critical opinions stood back to a position more prone not only to consider Marconi as one of the most outstanding students of Bellini (Gibbons, Tempestini, Heinemann), but also to appreciate his progressive growth in the changed Venetian environment of the twenties” (Giorgio Tagliaferro - Dizionario Biografico degli Italiani Treccani)
“The Prodigal Son” and “The Death of Abel” by Michelangelo Cerquozzi (1602/60)
“Madonna and Child” by Andrea d'Agnolo aka Andrea del Sarto (1486/1531)
“Ecce Homo” and “Penitent Magdalene” by the Florentine Carlo Dolci (1616/86)
 “Salome with the Head of John the Baptist” 1638/39 by Guido Reni (1575/1642)
“It is like a stage for the aesthetic ideal of the Bolognese painter, the undisputed champion of the seventeenth-century classicism, with carefully building lighting effects and a perfect balance of form. (...) The rarefied atmosphere of the composition typical of the Bolognese artist work between the thirties and forties, can be found in contemporary works or a little later, as Blessed Andrea Corsini of the Pinacoteca di Bologna and especially Salome at the Art Institute of Chicago, which has in common with the Corsini painting the marked pathos of the Baptist's expression” (Official Website of the Galleria Corsini - galleriacorsini.beniculturali.it)
“St. Jerome” sixteenth century by an unknown artist of the Venetian school
“Adoration of the Shepherds” about 1562 by Jacopo da Ponte aka Jacopo Bassano (about 1510/92)
“Today is unanimously considered one of the masterpieces of Jacopo's mature production. The artist adopts here a compositional model already tested in previous versions of the same subject (such as the ones at Hampton Court or at the Accademia in Venice), bringing subtle but significant variations. The role of the shepherds in the scene takes on a distinctly important central focus of the composition, all played on vivid contrasts” (Official Website of the Galleria Corsini - galleriacorsini.beniculturali.it)
“Adoration of the Magi” by Donato Creti (1671/1749)
“Ecce Homo” by Orazio Ferrari (1606/57)
Nine splendid “Heads” by Benedetto Luti (1666/1724)
“In his production of portraits, unfortunately not intense, he often reaches through an immediate pictorial style, shy of decorative tinsel and false modesty, a penetrating psychological and daring insight, full of a deep human energy” (Giancarlo Sestieri)
Four marvelous pastels by Rosalba Carriera (1675/1757) of the years 1741/43: the “Four women’s faces representing the four elements: fire, water, air and earth
“She was very famous throughout Europe, demanded by princes and kings who assiduously attended her studio. Specialist in pastel technique, she gave to her finest portraits a mundane Rococo grace with soft and light colors and a fluffy and soft as powder touch. Rosalba's pastels found wide resonance in France: they would be taken into account also by artists of firmer mettle, such as Maurice Quentin de la Tour and Perroneau” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
Six small paintings on copper with “Stories of criminals” from works by the French painter Jacques Callot (1582/1635), including one with “Execution of a criminal” by Giovanni Paolo Pannini (1691/1765)
“St. John the Baptist” seventeenth century by an unknown artist of the school of Guercino
“Noli Me Tangere” sixteenth century copy by unknown artist from the original by Federico Barocci aka Barocci
“The paintings of this artist of extraordinary ability does not contain puzzles or anything that would shock a viewer, anything that would arouse violent emotions. His fluent way of handling the current allegorical language, the impersonal generalizations of which his work abounds, the admission of the right amount of festive splendor, all this predestined his grandiloquent style to become the courtly style par excellence in the Europe of Louis XIV. Maratta was not an artist devoted to speculation and theories” (Rudolf Wittkower)
“Portrait of Cardinal Domenico Morone” by Scipione Pulzone (about 1550/98)
“Sea Storm” and “Shipwreck” by the Flemish Bonaventura Peeters (1614/52)
Two outstanding “Heads of elderly men” by Peter Paul Rubens (1577/1640)
“In May 1600 he left for a study tour in Italy; he was first in Venice and then in Mantua where Vincenzo Gonzaga gave him the job of official court painter, a position he kept during all of the eight years he spent in Italy. (...) The art of Rubens was endless; his great talent evolved slowly and he found his own style only after his return from Italy, meditating constructively on those experiences” (Enciclopedia Treccani)
“St. Francis in meditation in the desert” by Annibale Carracci (1560/1609)
“Deposition of Christ from the Cross” sixteenth century, by an unknown artist from the Emilia region
“Mary Magdalene Penitent” by Francesco Cozza (1605/82)
“Portrait of Cardinal Alessandro Farnese” maybe by Pietro Bonaccorsi aka Perin del Vaga (1501/47)
“Portrait of Cardinal Bernardino Clesio” about 1531 by the German Bartel Bruyn (1493/1555)
“Bruyn was influenced in part, as Ragghianti says, from portraits by Raphael, but translated into a language in which the Gothic hardness is frozen in a realism severe and far, knowing, though, how to seize the pride and cunning attitude of the character in the cold and calculating eyes, stressed by the uneven raising of his eyebrows” (Sivigliano Alloisi)
“Portrait of Wolfgang Tanvelder” by Hans Maler zu Schwarz (1480/1529)
“Archangel Gabriel” and “Our Lady of the Annunciation” by Sebastiano Ghezzi (1590/1670)
“I Maccaronari (Maccaroni Eaters)” by Domenico Gargiulo aka Micco Spadaro (1609/75)
“St. Rose of Lima” by Agostino Masucci (1691/1758)
“Madonna and Child” by G.B. Salvi aka Sassoferrato (1609/85)
“Portrait of a Gentleman” by an anonymous seventeenth-century Genoese artist
“Portrait of a little girl” by the Flemish Giusto Sustermans (1597/1681)
“Revolt of the peasants” and “Looting of a village” by the Flemish Jan Baptist Van Der Meiren (1664/about 1736)

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