“The room
was one of the reception rooms of the apartment of Neri Maria and, together
with the two following room, it was destined to receive guests. At the time of
Cardinal Andrea Corsini (1735/95), who succeeded his uncle as the owner of the
apartment, the room had undergone a series of transformations (1777/79). (...)
The current structure of the hall dates back to 1907 when, to gain a greater
exhibition space for portraits, the living room and the adjacent chapel were
demolished” (Official Website of the Galleria Corsini -
galleriacorsini.beniculturali.it)
“Marble funerary urn of M. Servilius” first century AD
“Marble head of Silenus” second century AD
“Bust of Pope Clement XII Corsini (1730/40)” by Pietro Bracci
(1700/73) who immortalized precisely and mercilessly the severe and frowning grin of Pope Corsini
“Portrait of Cardinal Neri Corsini senior (1599/1678)” by G.B.
Gaulli aka Baciccio (1639/1709)
“Portrait of a Knight of the Order of Sts. Maurice and
Lazarus” by Agostino Carracci (1557/1602) brother of Annibale
“In the
painting movement which he founded with his brother and that had in his heart
the Accademia
dei Desiderosi (Academy
of Desiring), later Incamminati (Walkers), he was the theoretician and the
researcher. Of this critical attitude and interpretation of the formal values
of the great masters are proof his engravings” (Enciclopedia Treccani)
Sketch by Francesco Cozza
(1605/82) for the “Pieta” in Room II
“Portrait of Cardinal Giacomo Savelli” by Scipione
Pulzone (about 1550/98)
“Pupil
perhaps of Jacopino del Conte, he reached fame with his portraits of famous
Roman people, inspired by the sixteenth-century Flemish portraiture, portrayed
with great technical ability and virtuosic attention the physical
characteristics and social attributes of the subjects” (Enciclopedia Treccani)
“St. Anthony of Egypt” by Antonio
Allegri aka Correggio (1489/1534)
“Portrait
of Cardinal Ferdinando de' Medici” school of Alessandro
Allori aka Bronzino (1533/1607) pupil of Agnolo di Cosimo aka Bronzino
“Portrait maybe of Guercino” by Guido
Cagnacci (1601/63), a pupil of Guido Reni but influenced by Caravaggio
“After a
start vaguely influenced by Caravaggio he approached Guido Reni, accepting
Venetian influences in a personal way. He did not disdain strong baroque
effects only to compose himself eventually in a measured classicism”
(Enciclopedia Treccani)
“Portrait of Cosimo Medici III” by the Flemish Giusto Susterman (1597/1681)
“Cantarini
was the best student of Guido Reni and the only painter of his circle to be
able to formulate a highly personal style: his rich palette, the colors
slightly graduated and new inflections in the poses of the figures helped to
introduce in Bologna the painting more delicate and intimate of the last
decades of the seventeenth century. His influence is evident in particular with
the work of his pupil Lorenzo Pasinelli, and of the younger Donato Creti”
(Dwight C. Miller - Dizionario Biografico degli Italiani Treccani)
“In the
self-portrait of Simone Cantarini the message is clear and direct: the viewer
observes the painter who observes himself and wonders in the mirror pretending
to look at the model. Art, therefore, is a mirroring of life, a pattern or a
project to follow with passion and absolute dedication” (Sivigliano Alloisi)
“Portrait of a Man” copy from Francesco
di Cristofano aka Francabigio (1484/1525)
“Portrait of a Man possibly Pietro
Strozzi” by Pier Francesco di Jacopo Foschi (1502/67)
“Portrait of a Man” by the French Claude Lefebvre (1637/75)
“Portrait of Michele Peretti” about 1608 by Pietro Fachetti (1535/post 1616)
Michele
Peretti was the great-nephew of Sixtus V Peretti (1585/90)
“While not
free from the influence of Scipio Pulzone, this painting stands out for the
richness of colors, dense and condensed in the game of the flesh which results
in a plastic-linear firmness that is linked to a nagging of lights of enhanced
accuracy. It is a testimony of a complex training in which the influence of
Caravaggio's portraits are grafted onto a culture that is still affected by
memories of Mantua, Flemish and even from Rubens” (Sivigliano Alloisi)
“Portrait of a Man” by Ottavio
Leoni (1578/1630)
“Portrait of a Man” by Carlo
Maratta (1625/1713)
“Portrait of a Man” by Bartolomeo
Passerotti (1529/92)
“Portrait of a Man” by Franz
Pourbus the Younger (1569/1622)
“Portrait of a Man” by an artist
of the French school of the seventeenth century
“Portrait of a Nun” by an artist
of the Bolognese school
“St. John the Baptist as a young man” by an artist
of the Emilia school
“Portrait of a Gentleman” by an artist
of the Venetian school of the sixteenth century
“Jacob De
Heush is one of the Italianate painters less sensitive to his culture of origin
(...). His landscapes are affected by Salvator Rosa, but do not have the vigor
and inventiveness of the Neapolitan painter. He mainly painted marine and deep
bays animated by fantastic rocks, towers, canals and gesticulating figures who
exercised a certain influence on the Roman painters of the next generation”
(Sivigliano Alloisi)
“Shepherd with herd” by the Roman Andrea Locatelli (1693/1741)
“Landscape with marina and ruins”, “Landscape with marina and
lighthouse”, “Landscape with cliff” and “Landscape with ruins” by Salvator Rosa (1615/73)
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