Wednesday, March 9, 2016


Room XXXIV - Artistic Presence in Northern Italy between 1600s and 1700s

Oval “Satyr and Cupid” about 1742/45 by G.B. Tiepolo (1696/1770)
“His art is the ultimate expression of the great European rococo, of international dimension and a triumph of painting skills from which the subsequent developments of painting, even with the new neoclassical style, would not prescind” (Lorenza Mochi Onori)
“Portrait of a young smoker” about 1736 by Giacomo Cerruti aka Pitocchetto (1698/1768)
“It's a kind of representation that is separated from the moral implications of the pauperism genre and from the human depth of the portrait. (...) It is interesting to compare this portrait, which has the characteristics of everyday life pose and clothing, combined with a background city which shows the working life and everyday life, with the conception of the portrait of courtly parade, which prevails in Rome and includes archaeological elements to symbolize the cultural and antiquarian interests of the sitters, in a context that is intended to be emblematic and away from everyday life” (Lorenza Mochi Onori)
“Allegory of architecture” by the Bolognese Giuseppe Maria Crespi aka the Spanish (1665/1747)
“It features the image with a contrast between the dark shadow of the background and the relief given by the diagonal light that strikes the figure” (Lorenza Mochi Onori)
“Beheading of St. John the Baptist” by Pierre Louis Cretey (about 1635/about 1702)
“Bacchanal” by Giulio Carpioni (about 1613/78)
“St. Bruno” and “Hermits at Prayer” by the Genoese Alessandro Magnasco (1667/1749)
“The disintegration of the figure in the fast and light touches of the brush suggest immediacy of execution and design, but the popularity of this kind of compositions of the painter is documented by the large number of variants that are known of this theme on which he practiced especially in the years between 1710 and 1720” (Lorenza Mochi Onori)
Beautiful pastels “Portrait of a Young Woman” and “Portrait of a Young Man” by the great Venetian artist Rosalba Carriera (1675/1757)
“She worked for the major European courts specializing in the technique of pastel portrait, in which she showed extraordinary abilities. In Rome she was received in the Academy of St. Luke in 1705. (...) To the pastel technique that allows subtle nuances of colors, the artist combines the sensibility of touch which transfigure delicacy of feeling in the transparency of the material, making clear the inner feelings of the characters portrayed, a technique that left a determining imprint in French painting for artists such as Liotard” (Lorenza Mochi Onori)
“Portrait of a Lady indoors” by Pietro Longhi (1701/85) and his son Alessandro Longhi (1733/1813)
“Young woman crying” and “Young woman laughing” by Pietro Antonio Rotari (1707/62) from Verona
“These paintings are part of the painter's rich production of female heads, reproducing usually a state of mind according to a sentimental typology. These half-figures 'of expression' were so successful that Catherine II, the Russian empress, after the painter's death, bought from his widow the entire production of this kind. Rotari produced about 250 works of this kind during his stay in Russia between 1756 and 1762 collected by the Russian nobility as well as the Empress. (...) He keeps a range of soft feelings and passages of mood with expressions only hinted pathetically” (Lorenza Mochi Onori)
“Portrait of a Man” and “Portrait of the painter Antonio Cifrondi” by Vittore Ghislandi aka Fra' Galgario (1655/1743)
“If you compare the portraits of Ghislandi, which also often have an official quality with the parade portraits of the Roman school, from Maratta to Batoni, the difference that appears immediately is the most effective and detached description of the psychological nature of the sitter, even if it affects the officiality of the image at the expense of feelings and expression. Ghislandi also utilizes the power of color, which he incorporates from Venetian models, rather than the magnificence of the details, in order to emphasize the image” (Lorenza Mochi Onori)
East wing of the second floor
Beautifully decorated in the years 1750/70 in rococo style for Cornelia Costanza Barberini who married a member of the noble family Sciarra Colonna when she was twelve
The last descendant of the Barberini lived here until her death in 1960, although the building was owned by the state since 1947
In addition, section of decorative arts of the eighteenth century with costumes, furniture and porcelain

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