Monday, May 30, 2016


Fresco representing a “Putto” maybe by Raffaello Sanzio (Raphael) (1483/1520) to whom it is also traditionally assigned the painting “St. Luke painting the Virgin Mary”
“Annunciation to the Shepherds” by Jacopo Da Ponte aka Jacopo Bassano (about 1510/92)
“Polish Prince” and “Virgin Mary and Child with Angels Musician” by Antoon Van Dyck (1599/1641)
“Nymphs crown Abundance” by Peter Paul Rubens (1577/1640)
“Judith and Holofernes” by G.B. Piazzetta (1683/1754)
“The artistic expression of Piazzetta was the result of extraordinary intensity of feeling, not diluted, but deliberately concentrated in dense and short summaries of painting. In fact Piazzetta, although Venetian by birth, education and art, seems to have wanted to pursue a tantalizingly mirage of plastic perfection: so that his work ranged, because of its inherent extreme difficulty, between the highest pinnacles of art and the disappointment of not reaching the desired results. Technically, the painter is distinguished by the Venetians of his time for a strong unusual draughtsmanship, although his is a pictorial design, without anything of linear in itself. It would be enough as evidence to remind how he was the greatest drawer of the eighteenth century” (Enciclopedia Treccani)
“Self-Portrait” by Federico Zuccari (about 1542/1609)
“Portrait of Pietro Bernini” maybe by his son Gian Lorenzo Bernini (1598/1680)
“Love joking”, “Bacchus and Ariadne” and “Sorrowful Madonna” by Guido Reni (1575/1642)
“Portrait of Pope Clement XI Albani (1700/21)”, “Glory of Angels”, “Madonna and Child” and “The Birth of John the Baptist” by G.B. Gaulli aka Baciccio (1639/1709)
Eight paintings including “Landscapes” by Salvator Rosa (1615/73)
Oil on copper “Virgin and St. Francis” copy from the church S. Maria della Vittoria by Domenico Zampieri aka Domenichino (1581/1641)
“Portrait of Ippolito Riminaldi”, “Portrait of Marino Corner” and “St. Jerome” Tiziano Vecellio (Titian) (about 1490/1576)
“The singer” and “Tarquin killing Lucretia” by Guido Cagnacci (1601/63)
Three paintings with “Roman Ruins” including “The Archaeologist” 1749 by Giovanni Paolo Pannini (1691/1765)
“Self Portrait” by Lavinia Fontana (1552/1614)
“Madonna and Child” by G.B. Salvi aka Sassoferrato (1609/85)
“Venus and Cupid” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“St. Bartholomew”, “St. Andrew” and “Portrait of a Woman” by Alessandro Allori aka Bronzino (1533/1607) a student of Agnolo di Cosimo aka Bronzino
“Rest on the Flight into Egypt” by Federico Fiori aka Barocci (1535/1612)
“Jael killing Sisera”, “Virgin in prayer” and twelve portraits by Carlo Maratta (1625/1713)
“The Plague” by Mattia Preti (1613/99)
“Bacchanal” and “Immaculate Conception” by Corrado Giaquinto (1703/66)
Five paintings including “Cupid and Psyche” and “St. Benedict in the bush” 1694/95 by Benedetto Luti (1666/1724)
Four paintings by Francesco Trevisani (1656/1746)
“Faustulus entrusts Romulus and Remus to Larentia” about 1739 by Jean François de Troy (1679/1752)
“Mystic Marriage of St. Catherine” by Sebastiano Conca (1680/1764)
“Portrait of the English painter John Parker”, “Christ with St. Margaret of Cortona” and “Self-Portrait” by Marco Benefial (1684/1764)
“The simplicity of the representation (of this self-portrait by Benefial), which focuses on the individual, as it appears, ignoring attributes and ornaments, seems to be an important element of identification, together with the fiery attitude, a little contemptuous and his character shown without fear and uncertainties. A probable date for the painting is the middle of the second decade of the eighteenth century, showing the sitter here when he was about forty years old. Regarding the revolutionary art of the Roman artist Evelina Borea spoke 'of a strong and passionate naturalism absolutely innovative in those years in Rome', ‘of singular naturalistic clarity' and 'of a clarification of the detail, never giving up to decorative frills' (in E. Borea, Benefial Marco, DBI, 8, Rome, 1966, pp. .467), elements that we can fully relate to the work here examined” (Antonello Cesareo - Website of the Academy of St. Luke
“Synagogue” by the English William Hogarth (1697/1764)
“Portrait of the father Gaspar van Wittel” by Luigi Vanvitelli (1700/73)
“Allegory of Gratitude” 1706 by Pier Leone Ghezzi (1674/1755)
“The painting became part of the academic collections as 'joining gift' by Pier Leone Ghezzi. Starting from the oldest statutes of the Society, in fact, it was prescribed that each new member at the time of appointment would donate an essay of his art as a gift to the academic collections. (...) The iconography of the 'Gratitude' is derived from the 'Iconology' by Cesare Ripa. (...) The inscription on the table and the presence of the evergreen juniper allude to the durability of memory. On the day of admission of Pier Leone Ghezzi to the Academy was present Giuseppe, his father who, as the sources mention, played an important role in the education of his son” (Paola Picardi)
“Death of the Virgin Mary” by Francesco Coghetti (1801/75)
“Cathedral of Orvieto” by Annibale Angelini (1812/84)
“Funeral of Julius Caesar” and “Self-Portrait” by Pietro Gagliardi (1809/90)
“Portrait of Marianna Waldestein of Santa Cruz” by Andrea Appiani (1754/1817)
“Ulysses at the court of Alcinous” and “Triumphant Athlete” by Francesco Hayez (1791/1882)
“Self Portrait” by the Dutchman naturalized Briton Laurens Alma-Tadema (1836/1912)
“He first painted subject of medieval German history, but after a trip to Italy in 1863, he turned instead to subjects of ancient history. In 1870 he settled in London and specialized in scenes of Rome, which received great success: effects of artificial figures seen against polished marbles, illusionistic skills playing textiles, meat, metals” (Enciclopedia Treccani)
“Naked Woman” 1900 by Giulio Aristide Sartorio (1860/1932)
“Portrait of a Woman” by Scipione Vannutelli (1834/94)
Three watercolors by Enrico Coleman (1846/1911)
“Return from fishing” by Umberto Coromaldi (1870/1948)
“Farmer” and “Self-Portrait” 1958 by Giacomo Balla (1871/1958)
“The Philosopher” 1954 by Carlo Carrà (1881/1966)
“Portrait of a Woman” by Tranquillo Cremona (1837/78)
Sketch of “The Deposition” by Adolfo De Carolis (1874/1928)
“Female friends reading” and “Self-Portrait” by Ercole Drei (1886/1973)
Giovanni Antonio Canal aka Canaletto (1697/1768), Jacopo Negretti aka Jacopo Palma il Giovane (1544/1628), Paris Bordon (1500/71), Ciro Ferri (1634/89), Orazio Borgianni (1578/1616), Marcello Venusti (about 1512/79), Nicolas Poussin (1594/1665), Giovanni Francesco Romanelli (1610/62), Luigi Garzi (1638/1721), Gaspard Dughet (1615/75), Rosalba Carriera (1675/1757), Giuseppe Chiari (1654/1727), Paul Brill (1554/1626), Lazzaro Baldi (about 1624/1703), Jacques Courtois aka Borgognone (1628/79) e Guillaume Courtois (1628/79) both known as Borgognone, Giacomo Zoboli (1681/1767), Giovanni Odazzi (1663/1731), Giacomo Triga (1674/1746), Gaetano Lapis (1706/76), Ludovico Gimignani (1643/97) e suo padre Giacinto Gimignani (1606/81), Pier Francesco Mola (1612/66), Giuseppe Ghezzi (1634/1721), Placido Costanzi (1702/59), Giuseppe Passeri (1654/1714), Nicolò Ricciolini (1687/1772), Laurent Pécheux (1729/1821), Domenico Corvi (1721/1803), Pierre Subleyras (1699/1749), Etienne Parrocel (1696/1774), Gaspare Landi (1756/1830), Giuseppe Cesari aka Cavalier d'Arpino (1568/1640), Jan Frans Van Bloemen aka Orizzonte (1662/1749), Gaspar van Wittel (1653/1736), Anton von Maron (1733/1808), Jean-Baptiste Wicar (1762/1834), Vincenzo Camuccini (1771/1844), Francesco Podesti (1800/95), Alessandro Capalti (1807/78), Pio Joris (1843/1921), Francesco Grandi (1831/91), Silverio Capparoni (1831/1907), Tommaso Minardi (1787/1871), Ludovico Seitz (1844/1908), Ludovico Stern (1709/77), Giulio Bargellini (1896/1936), Cesare Mariani (1826/1901), Antonio Mancini (1852/1930), Fausto Pirandello (1899/1975) and other

“Portrait of Napoleon as First Consul” by Antonio Canova (1757/1822)
“Bust of a Woman” by Emilio Greco (1913/95)
“Self-Portrait” by Ettore Ximenes (1855/1926)
“Female Head (Portrait of Lalla)” by Ercole Drei (1886/1973)
“Portrait of Francesco Podesti” by Michele Tripisciano (1860/1913)
In addition bronzes by Venanzo Crocetti (1913/2003), Filippo Cifariello (1864/1936), Francesco Nagni (1897/1977) and others
Relief “Leo XI Medici (1605) received the abjuration of Henry IV” model for the monument in the Basilica of St. Pietro by Alessandro Algardi (1598/1654)
Group “Achilles and Penthesilea” 1773 by Vincenzo Pacetti (1746/1820)
“Perseus freeing Andromeda” 1786 by the Frenchman Joseph Chinard (1756/1813)
Pietro Bracci (1700/73), Filippo Della Valle (1698/1768), Antonio Della Bitta (1807/about 1879), Ettore Ferrari (1845/1929), Carlo Fontana (1865/1956), G.B. Maini (1690/1752), Giuseppe Mazzuoli (1644/1725) and Ercole Rosa (1846/93)

No comments:

Post a Comment