This
splendid private collection is taken good care of by the Doria Landi Pamphilj
family who still lives in the building and owns the works
The
exhibition is well maintained and the splendor of the rooms invariably provokes
amazement and admiration in the visitors
A gallery
with magnificent and spectacular exciting peaks such as the Rest on the
Flight into Egypt by Caravaggio, the Double Portrait by Raphael, Susanna
and the Elders by Annibale Carracci and the extraordinary Portrait of
Innocent X, the member of the family who became pope, by Velásquez
Aldobrandini
Room
Restored in
1956 after the collapse of the roof due to snow
There are ancient statues found mainly in Villa
Pamphilj:
“Sarcophagus
with Selene and Endymion”
“Odysseus
under the ram”
“Bacchus”
in porphyry marble restored by Alessandro Algardi
(1598/1654)
“Centaur” in polychrome marble found in the
mid-1800s in Albano in one of the residences of the Pamphilj
Marble relief
with putti “Amor sacred profane love breaks down” about 1630 by François Duquesnoy (1597/1643)
“In the
representations of cherubs he really gave something of the soul of children and
he molded their bodies so round, soft and delicate that they seem to be alive
and breathing. It was Duquesnoy's conception of the child which became a
general European property and, consciously or unconsciously, the majority of
the following representations of children derived from him” (Rudolf Wittkower)
Paintings:
“Descent from the
Cross” by Giorgio Vasari (1511/74)
It was
bought by Camillo Pamphilj in 1661 from the church of S. Augustine where he had
funded some works
“Gale at
sea” by the school of Pieter Mulier
Seventeenth-century
copy of the old “Aldobrandini Wedding” now in the Vatican Museums
“Sacrifice
of Noah” by Ciro Ferri (1634/89)
“Landscape
with rest of the flight into Egypt” by Pier Francesco
Mola (1612/66)
Green
Room
“Annunciation” about 1445/50 by Filippo Lippi (about 1406/69)
“Typical
example of telescope perspective which limits the space to the visual field and
organizes it in function of the transmission of light. But, in turn, light must
have internal sources in the framework, and is therefore produced by the
opposed intensification of light and dark as well as by the relationship
between the colors” (Giulio Carlo Argan)
“Mystical Marriage of
St. Catherine”
by Domenico Beccafumi (1486/1551)
“Battle of
Castro” by Jacques Courtois aka Borgognone
(1628/79)
“Crucifixion”
from Michelangelo maybe by Annibale Carracci (1560/1609)
“St. Joseph”
and “Allegory of Spring” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Circumcision”
school of Giovanni Bellini (about 1432/1516)
“Christ
Carrying the Cross” by Sebastiano Luciani aka Sebastiano
Del Piombo (1485/1547)
“In the
years following the sack of Rome Sebastiano reaffirmed in sacred painting the
needs of piety and austerity that some circles were shown to agree with before
their official affirmation, which took place at the Council of Trent. Christ
Carrying the Cross, repeatedly replicated by Sebastian is an early example of
this religious feeling that inspired devotional images drawn up according to a
severe style, convenient to the tragedy of the Roman climate shaken by the
terrible story of the sack” (Carlo Bertelli, Giuliano Briganti, Antonio
Giuliano)
“Flood” by Carlo Saraceni (1579/1620) and Jean Le Clerc (about 1585/1633)
“Religion
rescued from Spain” by Tiziano Vecellio (Titian)
(about 1490/1576) and workshop
“Portrait of a man of
thirty-seven”
perhaps self-portrait of Lorenzo Lotto (about
1480/1556)
“In Venice
painting kept true to the more mature and reflective spirit which had succeeded
the luminous vapors to the early Renaissance. A spirit that led artists to see
life with less enthusiasm and less illusions. Quieter pleasures were sought:
the pleasures of friendship and sincere affection. It is not surprising that
the Venetian artist who first expressed these new attitudes, was one who had
been brought into contact with the miseries of Italy during long journeys, as
it was not possible to those who stayed in Venice. Lorenzo Lotto, at his best,
do not celebrate the dominance of man over things that surround him, but, in
altarpieces, and even more in portraits, shows us people who needs to be
comforted and supported, either by religion or by healthy ideologies, friends
and loved ones. His figures look from the canvas almost asking for benevolence”
(Bernard Berenson)
“St. Jerome”
by Jusepe de Ribera aka Spagnoletto (1591/1652)
“Bust
of Pope Innocent X” by Domenico Guidi
(1625/1701)
