Monday, April 18, 2016


Artists in Rome
“Self-portrait with family” about 1709 by Giuseppe Chiari (1654/1727)
“The clear and measured forms, defined on the basis of the proportions of classical statuary, and the subtle interpretation of faces and feelings placed the portrait in the more mature production of Roman neoclassicism, derived from the portraits of Anton Raphael Mengs and Pompeo Batoni. (...) Even the choice of clothing (...) seems to allude to the refusal of contemporary social codes, in an atmosphere of brotherhood intellectual precursor of instances of the nineteenth century” (Rossella Leone)
Plaster sculpure “Self-Portrait” about 1799 and painting “Portrait of the Vitali Family” about 1790/98 by Antonio Canova (1757/1822)
“The plaster bust is the original model of the great self-portrait of Antonio Canova (1812), placed in the sarcophagus of the Temple of Possagno dedicated to him. The work, which comes from the study of his favorite pupil, Adamo Tadolini, lets see the 'spots' for the translation in marble and provides an idealizing image of the artist, destined to be handed down to posterity. From the bust, characterized by the look to the sky and the half-open mouth, almost in an otherworldly dimension, were taken several copies that the sculptor gave to friends and admirers” (Official website of the Museo di Roma -
“Bust of Luigi Gonzaga of Castiglione” 1776 and “Bust of the poet Maria Maddalena Morelli Fernandez” 1776 by the Irishman Christopher Hewetson (about 1739/1797)
“Portrait of the doge Michelangelo Cambiaso” about 1792 by the Viennese Anton Von Maron (173/1808)
“Self-Portrait” about 1766 by Charles-Joseph Natoire (1700/77)
“Portrait of Catherine Bishopp” 1757 by Joshua Reynolds (1723/92)
“He also distinguished himself as a portraitist, required by the most distinguished foreign guests, especially English. He inaugurated the kind of portrait of the Enlightenment, by portraying the character in an elegant pose, random only in appearance, in the background of landscapes and fragments of the ancient world. He was admired by the English artists, especially Joshua Reynolds, who was in Batoni's studio in Rome between 1750 and 1752” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Self-Portrait of Pompeo Batoni” about 1774/87 copy by an unknown artist of the studio of Pompeo Batoni from the original self portrait of the great master of the eighteenth century
“Portrait of Giacinta Orsini” (arcade poet who died in childbirth only nineteen years old) 1757/58 copy of Teresa Tibaldi from original by Pompeo Batoni
“Portrait of G.B. Piranesi” by Pietro Labruzzi 1779 (1738/1805)
“In line with the circle of artists who worked for Pius VI (...) during the eighties, his painting style became increasingly dramatized, opening up to a palette of tones bright and earthy - it was the same chromatic path of Domenico Corvi - and to restless faces with emphatic accents of expressionism” (Francesco Leone - Dizionario Biografico degli Italiani Treccani)
“Roman and Flemish Artists in a tavern” by the so-called Bamboccio Pieter Van Laer (about 1595/1642)
Extraordinary painting “St. Camillus de Lellis rescues the sick at the S. Spirito Hospital during the flood of the Tiber in 1598” 1746 by the French Pierre Subleyras (1699/1749). It was painted on the occasion of the ceremony of canonization of St. Camillus de Lellis
 “Painted at the time of full artistic maturity of the artist, the image is one of the highest synthesis between the ideal of classical forms and proportions and the representation of events and real emotions. Nobility of the faces, simplified according to formulas Raphael, gestures composed and without emphasis, accompany the drama of the episode that culminates in the left half-naked body of the patient to the right, alluding to a sacred deposition. (...) The obvious derivation from the group of Aeneas and Anchises by Federico Barocci resolves in a classic and heroic key the uplifting intent this picture of canonization was intended for” (Rossella Leone)

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