Monday, March 7, 2016


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
“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)
The “Abandonment of Moses” and the “Sacrifice of Isaac” by Domenico Corvi (1721/1803) from Viterbo
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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