Wednesday, June 22, 2016


Room of Landscapes

Vault “Allegory of the Battle” by Sebastiano Ricci (1659/1734)
“Ricci is the typical extrovert virtuoso of the eighteenth century and as such his splendor could look a bit superficial. Roberto Longhi spoke of his paintings that have the flavor of a skilled reportage of all the Europeans themes. But it took the easy and versatile talent of Ricci to bring Venetian art back to a new understanding of the great past and towards the synthesis accomplished by the heroic style of Tiepolo” (Rudolf Wittkower)
Two magnificent chests of sandalwood and precious stones: one in ebony and ivory with the image of the Last Judgement by Michelangelo, another maybe by Carlo Fontana (1634/1714)
“Landscapes” by Gaspard Dughet (1615/75), Crescenzio Onofri (1632/1712) and Jacob de Heusch (1657/1701)
“Antigone near the bodies of Eteocles and Polynices” maybe by Paul Brill (1554/1626)
“The deer hunting” and “Battlefield” by Jacques Courtois aka Borgognone (1628/79)
“Preaching of St. John the Baptist” by Michelangelo Cerquozzi (1602/60)

Room of the Apotheosis of Martin V

In the center of the ceiling painting “Apotheosis of Martin V Colonna (1417/31)” 1720 by Benedetto Luti (1666/1724)
“Among the students of Maratta only the distinguished Benedetto Luti from Florence, character of international renown, also known as a collector and teacher, completed the transformation of Maratta's style in an eighteenth-century style elegant and sweet” (Rudolf Wittkower)
In the ceiling near the walls: “Merit crowned by Virtue” by Pietro Bianchi aka il Creatura (1694/1740) Roman student of Luti and Baciccio
In the ceiling near the walls: splendid “Time discovers the truth” and in the corners “Allegories” by Pompeo Batoni (1708/87) among which there is an incredibly explicit and passionate sapphic kiss between Peace and War
“In the work of Batoni, in his thematic ideas, he reconstructed his love for the operatic melodrama of which he had to be an assiduous listener (...), and as a painter of mythological themes he had a preference for scenes that would lend themselves more to express a pathetic aspect (...). As in opera, where they often are not overly moved if not in words, so in Batoni’s painting, the characters express themselves psychologically in a gesture, in a tear, but the painting remains serene and full of life because of its colors: it becomes a show, a wise and skillful game content in the oblivion of all evil or simply of all the unpleasant” (Isa Belli Barsali – Dizionario Biografico degli Italiani Treccani)
“Madonna and Child asleep, St. John and St. Elizabeth” by Agnolo di Cosimo Tori aka Bronzino (1503/72)
“Under the influence of Michelangelo, Bronzino also carried out a total change of style, which manifested itself most clearly in the extraordinarily exalted corporeality of the naked figures, in the strong emphasis on the muscles modeled as if they were sculpture. To this he added a chromatic style, cold and hard, which increased even more the plastic impression” (Hermann Voss)
“Portrait of Onofrio Panvinio” by Jacopo Robusti aka Tintoretto (1518/94)
“Mangiafagioli (Beans Eater)” about 1584/85 by Annibale Carracci (1560/1609)
“Being able to work simultaneously on two levels, Agostino and Annibale Carracci reveal a dichotomy that from then on became more and more marked in the work of great artists and culminated in the dual activities or double aspirations of Hogarth or Goya. It is not surprising that this mentality would define the Carraccis as the ancestors of the modern caricature” (Rudolf Wittkower)
“St. Charles Borromeo” by Giovanni Lanfranco (1582/1647)
“Rape of Europa” by Francesco Albani (1578/1660)
The color combinations are intoxicating and bring out the irresistible sensuality of the icy and curvy legs in Europe, constituting, with her breasts exposed, the element in the painting that glows more than any other with bright light
Two “Portraits of men” by Domenico Robusti aka Tintoretto (1560/1635)
“Portrait of a Gentleman” by Paolo Caliari aka Veronese (1528/88)
“Madonna with Child, Two Angels and St. John” maybe by Andrea d'Agnolo aka Andrea del Sarto (1486/1531)
“Guardian Angel”, “The Virgin of the Annunciation” and “The Archangel Gabriel” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Ecce homo” by Francesco da Ponte aka Bassano the Younger (1549/92)
“Resurrection of Lazarus” and “Portrait of a Gentleman with cameo” Francesco de' Rossi aka Francesco Salviati (1510/63)
“St. Jerome Penitent” by Giovanni di Pietro aka Spagna (about 1450/1528) a pupil of Perugino to whom he owed a lot for his style
“Bust of Cardinal Girolamo I Colonna” 1651 by Orfeo Boselli (about 1600/67)
The Cardinal was the one who wanted to begin the art collection of the family
“Virgin Mary gives the scapular to St. Simon Stock” by Ippolito Scarsella aka Scarsellino (1551/1620)

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