TRICLINIO LEONIANO
Piazza di S. Giovanni in Laterano
1743 Ferdinando Fuga (1699/1782)
for Benedict XIV Lambertini (1740/58)
Partial
reconstruction of the ancient triclinium
erected by St. Leo III (795/816) as the dining room of the Patriarchìo
(Patriarchate palace)
MOSAIC
“Jesus and
eleven apostles” with on the left “Jesus gives the keys to St. Peter and the
banner to Constantine” and on the right “St. Peter offers the bishops’ pallium
to Leo III and the banner to Charlemagne” 1743 by Pier
Leone Ghezzi (1674/1755)
Ghezzi used
very few original elements but executed it as a copy of the original, prudently
documented by Pier Paolo Cristofari before being destroyed. He had tried to
move it of 180 degrees without success
It was
originally executed at the time of the institution of the Holy Roman Empire by
Charlemagne on the year 800
Showing posts with label Pier Leone Ghezzi. Show all posts
Showing posts with label Pier Leone Ghezzi. Show all posts
Sunday, May 24, 2020
Friday, August 12, 2016
CORSINI PALACE - CORSINI GALLERY (ninth part)
Room
VIII - Room of paintings for canonizations
“The room
houses a large group of paintings executed for the solemn ceremony of
beatification and canonization which took place in 1737 in the Basilica of St. John
Lateran under Pope Clement XII. This is a unique in Roman collectibles that
demonstrates the willingness of Neri Maria Corsini to group paintings in a
dedicated room for this specific function and celebrate the role of 'procurator
fidei' he played during that ceremony” (Official Website of the Galleria
Corsini - galleriacorsini.beniculturali.it)
At the
center of the room “Fragment of red amber” that may have come from the Baltic
Sea
“Ecstasy of S. Caterina de' Ricci” 1737 or 1746 by Agostino Masucci (1691/1758) who also painted “S. Andrea Corsini” 1733/34 copy of an original by Guido Reni
which was also copied as a mosaic by Pietro Paul Cristofari in the Corsini
Chapel in the Basilica of St. John Lateran
“The staging
of the miraculous event highlights a compelling desire to historicize the
sacred drama, ahead of French paintings of the second half of the century.
(...) (In the S. Andrea Corsini) Masucci reached a high level of extraordinary
mimetic virtuosity, but not giving up in his own interpretation of the
seventeenth-century model in his absolute clarity of design and cool color
tones” (Valerio Da Gai - Dizionario Biografico degli Italiani Treccani)
“Preaching of S. Vincenzo de' Paolis” 1737 by Giacomo
Zoboli (1681/1767)
“Vision of S. Caterina Fieschi” by Marco
Benefial 1737 (1684/1764)
“Everything
is polished, thoughtful and tangible in the sacred appearance. The serious
heaviness of Christ walking under the weight of the Cross, trampling his own
blood, is opposed to the stylish sophistication of the dress of the woman, an
antithesis that perfectly captures the node of the story (the conversion of the
frivolous lady from Genoa) outside of any formal flattery, playing only with
the obvious concreteness of things shown. A compositional rigor unique in Rome
at the time” (Angela Negro)
“Death of S. Giuliana Falconieri” by Pier
Leone Ghezzi (1674/1755)
Mosaic with
“Portrait of Pope Clement XII Corsini and Cardinal
Neri Maria Corsini” about 1731 by Pietro Paolo Cristofari
(1685/1743) who in 1727 founded the institution known as Studio del mosaico
al Vaticano (Vatican Mosaic Studio) still operating today
“The
prototype of the mosaic also executed by Masucci is kept in the Corsiniana Library.
With the easy comparison between the two works it is possible to admire the
technical capacity of Cristofari, able to reproduce with great fidelity the
model even in the colors” (Sivigliano Alloisi)
Some
of the Works Kept in Storage
“Portrait
of Bernardo Clesio” by Joos Van Cleve (about
1485/1540)
“Portrait
of a Man” about 1540 by Pier Francesco Foschi
(about 1502/67)
“Hunters”
by the Dutch Philips Wouwerman (1619/68)
“St. John
and Angels” and “Flight into Egypt” by Carlo Maratta
(1625/1713)
“St. Agnes” by the Florentine Carlo
Dolci (1616/86)
“Portrait
of James III Stuart, pretender to the English throne” by the French François De Troy (1679/1752)
“St. Francis resurrects a dead man” by Andrea
Sacchi (1599/1661)
“St. Joseph”
by Guido Reni (1575/1642)
“Lamentation
over the Dead Christ” by Sisto Badalocchio
(1585/1645)
“Jupiter sends Mercury to Apollo” maybe by Francesco
Albani (1578/1660)
“Nymphs and
Satyrs” by Francesco Trevisani (1656/1746)
“Country” by Paolo Anesi
(1697/1773)
Monday, April 11, 2016
BRASCHI PALACE - MUSEUM OF ROME (third part)
FIRST
FLOOR
The Popes
The Popes
ROOM 1
Pius VI: The ancient city and the major works
“Portrait of Pope Pius VI” by the great painter from Lucca
1775 Pompeo Batoni (1708/87)
“Batoni,
going back to the Roman tradition of the early eighteenth century, but not
forgetting the new impulses from French and English schools, creates a new way
to portray: the perfect physiognomic rendering combines psychological analysis
of the character, often depicted in a setting that, in objects and in the
landscape, reminds of his intellectual interests” (Anna Maria De Strobel)
Paintings “The abduction of Helen” 1784 and “The Death of Achilles” 1785 by the Scottish Gavin Hamilton (1723/98)
ROOM 2
Pius VI: The ancient city and the major works
“Allegory of the Museum Pius
Clementine in the Vatican” about 1788 by Bernardino Nocchi
(1741/1812)
Tempera on
canvas model for the decoration of the ceiling of the Sala del Cantone in the Palazzo
della Consulta. Painting, Architecture and Sculpture are invited
by the Genius of the Arts to visit the Museum Pius Clementine
“Pius VI visiting
the Pontine Marshes” 1786 by Abraham Louis Rodolphe
Ducros
ROOM 3
The papal court
“Terracotta bust of Cardinal Maurizio of Savoy” 1635 by François
Duquesnoy (1597/1643)
“Profile portraits of
Innocent XIII Conti (1721/24) and of Cardinal Ludovico Sergardi” after 1724 by Pietro Bracci (1700/73) or Filippo
Della Valle (1698/1768)
“Terracotta bust of
Innocent XII Pignatelli (1691/1700)” 1694/96 maybe
by Domenico
Guidi (1625/1701)
“The bust,
which reveals the sculptor's ability to capture the facial features within the
limits of an idealizing style, was placed in 1818 on the Marforio Fountain in
Piazza del Campidoglio, under the inscription for the inauguration of the
Museum of Sculpture in the Palazzo Nuovo, opened in 1734 by Clement XII” (Sign
posted in the museum by the work)
“Marble bust of Cardinal Pietro Ottoboni” 1670/80 maybe by Domenico Guidi (1625/1701)
He was pope
for a year and a half with the name of Alexander VIII (1689/91)
“Terracotta Bust of Cardinal Paluzzo Paluzzi degli
Albertoni”
about 1698 by the Florentine Lorenzo Merlini (1666/1745)
“A stylistic
language rich in refined eclecticism, borrowed mainly from the Tuscan and Roman
schools. If typical of G.B. Foggini (his Florentine teacher) are, in fact, the
shape and the anatomical definition of the figure, typical of Lorenzo Ottoni,
leading figure of the Roman sculptural portraiture in the late Baroque age,
appear to be the strong expressive characterization of the face, deferential,
markedly, to the style common in Rome between Bernini’s death (1680) and the
eighteenth century” (Sandro Bellesi - Dizionario Biografico degli Italiani
Treccani)
ROOM 4
The papal court
“Corpus Christi procession in St. Peter's Square” about 1646 by an anonymous artist of the seventeenth-century before the
construction of the colonnade of Bernini with the bell tower still on the
façade
ROOM 5
The papal court
“Portrait of Pope Clement XI Albani (1700/21)” about 1710 and “Innocent X Pamphilj (1644/55) gives the cardinal's
hat to the Fabio Chigi future Pope Alexander VII” 1724 by Pier
Leone Ghezzi (1674/1755)
“The
portrait of Clement XI is considered one of the most significant examples of
the portraits of the artist, based on intensive physiognomic characterization,
almost caricatured traits, and a search for immediacy of gestures and
expressions, accentuated by the rapid treatment of the subject and by the
fringed painting” (Brief Guide to the Museum of Rome)
“Portrait of Pope Benedict XIV Lambertini (1740/58)
with Cardinal Gonzaga” about 1755 Giovanni Paolo Pannini (1691/1765)
“Portrait
of Cardinal Giacomo Rospigliosi” about 1669 maybe by Carlo
Maratta (1625/1713)
“Portrait
of Cardinal Giovan Francesco Ginetti” about 1681 maybe by G.B. Gaulli aka Baciccio (1639/1709)
Monday, March 7, 2016
BARBERINI PALACE - NATIONAL ART GALLERY (twenty-sixth part)
Room
XXXIII - Fabrizio and Fiammetta Lemme Donation. Designing Great Art
Preparatory
sketches for paintings on canvas in the nave of St. Clement executed in
the years 1711/16 including “Glory of St. Clement” by Giuseppe
Chiari (1654/1727) for the ceiling of the church
“As it has
been pointed out, the central figure is derived from the assumption of Annibale
Carracci in S. Maria del Popolo, but the reference point is the Allegory of
Mercy painted by Carlo Maratta in Palazzo Altieri in 1676. Fidelity to the text
of his teacher borders here on plagiarism, or perhaps indicates the use of the
original cartoons, in the group of two putti supporting the anchor down”
(Lorenza Mochi Onori)
“Stories of
St. Clement and St. Ignatius of Antioch” for the walls of the church by some of
the best painters in Rome in the second decade of 1700s:
“Death of S. Servolo” by Tommaso
Chiari (1665/1773) brother of Giuseppe
“St. Clement imposes the veil to St. Domitilla” by Pietro
de Pietri (1663/1716)
“Among the
works of this cycle it is one of those that show 'more intensely maratta-like'
features. With a composition of light classical approach proposing 'in
decidedly eighteenth century tone, the golden language of Raphael'. The
peculiar character of this sketch that marks also other works by De Pietri (for
example, the Madonna and Child with Saints in S. Maria in Via Lata) is this
intimate aspect, and it is one of the most original outcomes of Maratta's
period' (Casale)” (Lorenza Mochi Onori)
“Martyrdom of St. Clement” by Giovanni
Antonio Grecolini (1675/1725)
“Translation of the body of St. Clement” by Giovanni
Odazzi (1663/1731)
“The sketch
shows less freshness than the final version as a fresco. Some indecisions show
up affecting mainly the faces of St. Clement and the prelate behind. The
prelate knelt before the body of St. Clement recalls a figure of G.B. Gaulli,
the St. Nicholas, in the altarpiece in St. Mary Magdalene, which inspired
Odazzi some other times as well” (Lorenza Mochi Onori)
“Trajan condemning St. Ignatius of Antioch” by Giovanni
Domenico Piastrini (1678/1740)
“St. Ignatius of Antioch meets St. Polycarp in Smyrna” by Giacomo
Triga (1674/1746) pupil of Benedetto Luti
“Giacomo
Triga, little-known pupil of Benedetto Luti, a virtuoso of the Pantheon, worked
for the Patrizi and the Theodoli families, and in some Roman churches such as
the Basilica of Sts. John and Paul, St. Francis of Paola and S. Marcello al
Corso” (Lorenza Mochi Onori)
“Martyrdom of St. Ignatius of Antioch” by Pier
Leone Ghezzi (1674/1755)
“As Casale
mentioned, this painting by Ghezzi in the Clementine series is presented as
'the less academic and more whimsical of the group' and 'hard to the limits of unpleasantness.
But original' due 'to an compositional vehemence impatient of conventions and
rules of composition” (Lorenza Mochi Onori)
“Miracle of St. Clement in the Crimea” by Sebastiano
Conca (1680/1764)
“It has been
emphasized the differentiation of this sketch from the rest of the series for
both the bright colors with respect to the general preference for crayon-like
colors, and for the adoption of a small size that allows the presence of
several figures without creating a scrum. ( ...) It as also noted by Casale
(1998) that it is the masterpiece of the clementine series, a work in which the
author reconciles the update on Maratti's reforms with a style that 'shows an
early Rococo expression' (Sestieri)” (Francesca Mochi Onori)
They are
models for the paintings in the side chapel of the Virgin of Seven Sorrows in S.
Marcello al Corso, showing with their bright colors the influence
of Corrado Giaquinto's painting
Extraordinary
“Assumption of the Virgin” by Ludovico
Mazzanti (1686/1775) a Gaulli's student, sketch for the 1720 fresco on
the ceiling of the left transept of S. Ignatius
“Death of S. Joseph” 1712 by Francesco
Trevisani (1656/1746) from Istria
It is a study
for the altarpiece of the second chapel on the right in the church of St.
Ignatius
Sketch of “Last meeting of Sts. Peter and Paul” for the 1766 canvas in the church
of S.
Lucia al Gonfalone, and preparatory sketch of '“Adoration of the
Magi”, a work in S.
Giuseppe alla Lungara, by the Sicilian Mariano
Rossi (1731/1807)
“In the Last
meeting of Sts. Peter and Paul mix, in a studied intersection of levels that
follow the development of the action, relations with the work of Corrado
Giaquinto but, as Giancarlo Sestieri pointed out, in an 'extreme simplification
of form, based on an essentially linear conciseness' and 'developed especially
in the footsteps of Marco Benefial and Francesco Mancini'“ (Lorenza Mochi
Onori)
“Allegories
of the four elements: water, air, fire and earth” 1767/68 by the Roman Stefano Pozzi (1699/1768) for the lunettes of the
vault of a Cabinet in the Palazzo Doria Pamphilj
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