Saturday, July 30, 2016


Room III - Gallery of the Cardinal
“The room was built as part of the extension work of the building at the time of the Riario family, between 1590 and 1594, under the direction of the architect Giacomo Della Porta. At the time of the Corsini family it was rearranged by the architect Ferdinando Fuga and it became the representative room in the apartment of Cardinal Neri Maria, destined to the “Gallery of paintings” itself and to be the passage that guests had to walk to go to the Audience Hall (Room IV) “(Official Website the Corsini Gallery -
Lovely small bronze group “Small fauns on a goat with parrot” by the Florentine Gaspare Bruschi (1710/80)
Small bronze group “Hercules Child Strangling a Snake” by Alessandro Algardi (1595/1654)
“Christ Crowned with Thorns” and “Adoration of the Shepherds” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Jesus and the Samaritan Woman at the Well” by an artist of the school of Guercino
“Adoration of the Magi” by Sebastiano Conca (1680/1764)
“St. Peter healing St. Agatha in prison” about 1613/14 and “Nativity scene” by Giovanni Lanfranco (1582/1647)
“Lanfranco (...) on the 23rd of August 1613 rented for a year, along with Antonio Carracci, a house in Via Paolina. (...) Dating to this period (1612/14), immediately after his return in Rome, is the altarpiece of the Salvation of the Soul for a chapel in S. Lorenzo in Piacenza (now Naples, Capodimonte), the only work in which it's possible to notice a slight temporary approach to the luminous and colorful effects of Bartolomeo Schedoni, but in which are also visible elements of Caravaggio's style. These are even stronger in S. Agatha visited and healed by St. Peter, a 'picture for a room' painted for Pier Maria Dalla Rosa” (Erich Schleier - Dizionario Biografico degli Italiani Treccani)
“In these small paintings nature unfolds with quiet solemnity, surrounded by a satisfied calm where the characters are perfectly at ease and don't recite the usual role of contour, but are naturally taking part of delightful scenes of everyday life. (...) The landscapes by Anesi, mostly of small size, always communicate this wonderful sense of balance, this solar and absolute contemplation” (Sivigliano Alloisi)
“Landscape with animals (the ford)” maybe by the German Abraham Begeyn (about 1636/97)
“It is unlikely to identify the author in Nicholaes Berchem, one of the most famous Italianate Dutch painters, despite some compositional elements, such as the peasant girl on the donkey and the theme of travel, are typical of his. Missing in the painting is Berchern's already almost rococo elegance and fluency. (...) The painting, however, is appreciated for a sense of humble truth and participation, for a vision not at all idealized, but real and concrete of a countryside, certainly Roman, desolate and haunted by malaria of which the two peasants show on the faces the terrible signs. Therefore I propose to assign the work to Begeyn a painter who, as well as having imitated Berchem, seems to have been in Italy” (Sivigliano Alloisi)
“Carlo Maratta, after the death in 1669 of Pietro da Cortona, became the leading exponent of Roman painting. (...) He left a legacy to the artists of classical training a solid repertoire of formulas and models that would remain valid again for another fifty years” (Maria Antonietta De Angelis)
“St. Jerome” and “St. Joseph” by Guido Reni (1575/1642)
“Battle” by Salvator Rosa (1615/73)
“Adoration of the Magi”, “Adoration of the Shepherds” and “Annunciation” by Giovanni Francesco Romanelli (1610/62) from Viterbo, a pupil of Pietro da Cortona
“Wedding Contract” by Giovanni Mannozzi aka Giovanni da S. Giovanni (1592/1636)
“Martyrdom of St. Bartholomew” by Emilio Savonanzi (1580/1660)
“Holy Family” 1516 by Bartolomeo di Paolo del Fattorino aka Fra' Bartolomeo (1472/1517)
“Venus and Putti” and “Zeus sends Mercury to Apollo” by Francesco Albani (1578/1660)
“A rich mythological conception of learned inventions, never sterile, however, because activated with very sharp transitions of truth, with an ease and a spirit intimately 'Bolognese'. (...) There is in Albani’s works a sense of novelty and poetic sense (...) for his personal humanistic transformation of the concept of classics, impossible to be recreated exactly, but interpreted by Albani with a life of its own, if dropped in a erotic and bourgeois environment” (Antonio Boschetto - Dizionario Enciclopedico degli Italiani Treccani)
“Queen Artemisia Drinking the Ashes of her Husband” and “Lucretia” by the artist from Bologna Gian Gioseffo del Sole (1654/1719)
“Vanity” by Angelo Caroselli (1585/1652)
“St. John the Baptist” by an unknown artist from Naples
“Madonna and Child” and “St. Agnes” by the Florentine Carlo Dolci (1616/86)
“The image was supposed therefore to move emotionally the observer and, in order to achieve this, paintings had to be painted by those who had faith and subjects had to be represented in an illusive way. Dolci expressed in his paintings his personal religiosity but also the religious ideals of the time (...). Dolci assumed this position with precise religious conscience. He gradually honed and extolled his means of expression, relinquishing any dispersion and focusing more and more the image, often reduced to a half figure even without movement. With this painter of great stylistic coherence the expressive evolution happened thus in the sense of increasingly limiting self-imposed constraints to reach with the extreme concentration of an illusively striking image a more compelling call to prayer” (Maria Barbara Guerrieri Borsoi - Dizionario Biografico degli Italiani)
“Battle” by Jacques Courtois aka Borgognone (1628/79)
“Madonna and Child” by Andrea Del Sarto (1486/1530)
“Rest on the Flight into Egypt” sixteenth century by an unknown artist from Parma
“Madonna and Child” by the Orazio Lomi aka Orazio Gentileschi (1563/1639) from Pisa
“In the works of Gentileschi it is possible to see a free and original interpretation of the poetry and coloring of Caravaggio. The Tuscan quality, the simple compositional structures and his clear draughtsmanship and craftsmanship always characterized his production. His profound sense of color led Caravaggio's luminosity to optical effects clearest and lightest such as to enhance in particular the silky brocade and the softness of soft clothes” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Madonna of the Straw” about 1625 by the great Flemish Antoon Van Dyck (1599/1641). It was painted during the period in which he lived in Italy
“The painting alludes to Christ's death in the veil of sadness that appears on the face of the Madonna and in the symbols that surround the characters” (Official Website of the Galleria Corsini -
“Portrait of Philip II of Spain” by an artist of the school of Titian
“Virgin Mary” and “St. Joseph” by an artist of the school of Federico Fiori aka Barocci
“Norandino and Lucina discovered by the giant” maybe by the Sicilian Antonio Alberti aka Barbalonga (1600/49) a pupil of Domenichino
The subject was taken from the Orlando Furioso by Ludovico Ariosto
“A rare subject known in Rome for a large painting by Giovanni Lanfranco in the Galleria Borghese which should probably be considered as a precedent for this painting. (...) Are evident, compared with a good graphics capability, the limits of the coloristic research especially in the figures in the foreground made almost monochrome with a few shots of pink to raise the incarnate, probably in an attempt to submit to Domenichino's poetic of 'suffering' with Norandino and Lucina white as marble with fear” (Sivigliano Alloisi)
“Birth of the Virgin Mary” by Antonio Carracci (about 1589/1618), son of Annibale Carracci
“Moses saved from the waters” by the Belgian Louis Cousin aka Luigi Gentile (1605/67)
“Ecstasy of St. Mary Magdalene” and “Death of Adonis” by Marco Antonio Franceschini (1648/1729)
“Madonna and Child” by Francesco Trevisani (1656/1746)
“Vision of St. Jerome” and “Charity” by Cesare Gennari (1637/88) from the Emilia region
“Landscape with Animals” by the Dutch Nicholas Berchern (1620/83)          
“Andromeda” by the Florentine Francesco Furini (1603/46) a specialist in painting female pale and smooth bodies
“All the critics have stressed the importance of the stimulus exerted by the pictorial environment of the Venetian lagoon on the development (...) of the style of Furini, without detracting from the influence of other models, starting with Andrea del Sarto and ending with Correggio and Leonardo, whose technique of sfumato impressed Furini very much. He, incidentally, had a copy of the Treatise on Painting by Leonardo, with illustrative drawings done by Furini himself (...). The fourth decade represents the consecration of Furini in Florentine, especially among the noble families” (Roberto Cannatà - Dizionario Biografico degli Italiani Treccani)
“Scene of an inn” by the Flemish David Teniers the Younger (1610/90)
“Country Fair” by Maarten Van Cleve (about 1527/81)
“Farmers and horses” by the Flemish Crispin Van Den Broek (1523/91)
“May Day” by Jacopo Vignali (1592/1664)
“Madonna and Child” by Francesco Solimena (1657/1747)
“Martyrdom of St. Bartholomew” by Mattia Preti (1613/99)
“The vital element of his style is to propose, with clear pictorial view, the fundamental problem chiaroscuro, which, in the footsteps of Caravaggio, by G.B. Caracciolo (the Battistello), on the one hand, and the best Guercino and Lanfranco, from 'another, always represented the reason for his art. Its luminosity is realized (even through complex intentions of composition) more and more decidedly in the paintings collected, where the constraint of space seems to intensify in the imagination of the artist, at the same time, the value chiaroscuro and dramatic feeling” (Enciclopedia Treccani)
“Martyrdom of St. Stephen” by Ludovico Carracci (1555/1619)
“Christ Carrying the Cross” by Benvenuto Tisi aka Garofalo (about 1481/1559)
“Christ Carrying the Cross” by Giorgio Vasari (1511/74)

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