Monday, January 25, 2016


Room XIV - Garofalo

Vault: in the center “Creation of the World” 1769 by Laurent Pécheux (1729/1821), in the frame “Stories of Adam and Eve” Nicolò Ricciolini (1687/1772)
They replaced a fresco by Viviani destroyed the year before by a fire caused by lightning
“Circe transforming Pico into a woodpecker”, “Ascension of Christ”, “Adoration of the Magi”, “Sts. Anthony of Padua, Anthony the Great and Cecilia” and “Vestal Claudia Quinta towing a boat with the statue of Cybele” about 1535, all works by Benvenuto Tisi aka Garofalo (about 1481/1559)
“This painting celebrates the female chastity through the narration of an episode recounted in Ovid's Fasti. The Vestal Claudia, accused of infidelity, proved her innocence by moving from the mouth of the Tiber the ship carrying the statue of Cybele from Phrygia. In the ship there was the black stone as a pledge of the fate of Rome in the Second Punic War. The Vestal implored the goddess to help her and Cybele gave her superhuman strength” (Official website of the Barberini Gallery -
“Benvenuto Tisi was a friend of Giorgione, Titian, Giulio Romano, Raphael, the latter known in Rome in 1512 (...). Thanks to the influences of these artists, Benvenuto Tisi managed to bring out the unique ability to blend new soft colors of Venetian painting and the refined classicism of Raphael, so as to become one of the most appreciated painters by the kings Alfonso I and Ercole II d'Este. Vasari tells how he particularly appreciate Garofalo's ability to synthesize, even calling it 'Modern'. For fifty years then Garofalo painted, with solutions of striking originality, enchanted Madonnas, saints, children, cherubs, animals and characters that seem to come from stories by Ariosto” (Carole Dazzi -
Room XV - Painters from the Veneto Region

Vault: “Creation of Angels” by Andrea Camassei (1602/49) pupil of Domenichino. He was the favorite painter of the Barberini family
“Agony in the Garden”, “Resurrection of Lazarus”, “Massacre of the Innocents” and “Christ carried to the tomb” by Ippolito Scarsella aka Scarsellino (1551/1620)
“Agony of Christ in Gethsemane” by Leandro da Ponte aka Leandro Bassano (1557/1622) son of the more famous Jacopo Bassano
“Sacred Conversation with Mystic Marriage of St. Catherine of Alexandria” 1524 by Lorenzo Lotto (about 1480/1556)
“It is interesting to note the detail of the medallion hanging from the waist of the dress of St. Catherine which is one of the symbols of the symbolic significance typical of Lotto's works. The winged cherub shown is a theme dear to the painter (...). The theme of Wisdom and Justice, alluded to by the cherub with his feet on the scale, is well suited to the learned saint and is here combined with a particular assortment of clothes and jewelry for which Lotto had careful care and for which he often required a separate compensation” (Lorenza Mochi Onori)
“Sacred Conversation” about 1528 by Giovanni Busi aka il Cariani (about 1485/1548)
“Christ and the adulteress” about 1547 by Jacopo Robusti aka Tintoretto (1518/94)
“Tintoretto did not hesitate to turn every biblical episode into a scene he could have seen in his life, nor hesitated to show in it his emotions. His concept of the human form was gigantic. The effect it must have produced on his contemporaries, and that most of his work has on us is of wonderful truth as well as of impetuous vigor and strength. The figures, although so colossal, are so full of energy and such spontaneous movement. The effects of perspective, light and atmosphere bind the figures so much that the eye adapts itself immediately to those dimensions and we are made partakers of strength and health of heroic proportions” (Bernard Berenson)
“St. Dominic penitent” by Domenico Robusti aka Tintoretto (1560/1635) son of the more famous Jacopo
“Massacre of the Innocents” by Jacopo Negretti aka Jacopo Palma the Younger (1544/1628)
“Venus and Adonis” by Tiziano Vecellio (about 1490/1576)
“Copy of the prototype in the Prado in Madrid and painted for King Philip II. The myth is taken from Ovid's Metamorphoses: the scene depicts the moment when Venus in vain tries to prevent Adonis from hunting, aware of the tragic fate that awaits the young man, who shortly thereafter would be mortally wounded by a wild boar” (Official website of the Barberini Gallery -
“Lute Player” about 1510 by Andrea Solario (about 1465/1524)
“Sts. John and Bartholomew with patrons” by Giovanni Luteri aka Dosso Dossi (about 1486/1542)
“He was an elegant interpreter of the court culture of the Po Valley in the Renaissance. He worked almost exclusively in the court of the Este Dukes of Ferrara. (...) The art of Dossi has a personal aspect: the figures, burned by the sun on the compact and dense pictorial surfaces, are intended to be dramatic effects, in contrast of colors and artistic that renders them with no gradations of light and shadow” (Enciclopedia Treccani)

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