Saturday, March 11, 2017


This splendid private collection is taken good care of by the Doria Landi Pamphilj family who still lives in the building and owns the works
The exhibition is well maintained and the splendor of the rooms invariably provokes amazement and admiration in the visitors
A gallery with magnificent and spectacular exciting peaks such as the Rest on the Flight into Egypt by Caravaggio, the Double Portrait by Raphael, Susanna and the Elders by Annibale Carracci and the extraordinary Portrait of Innocent X, the member of the family who became pope, by Velásquez
Aldobrandini Room
Restored in 1956 after the collapse of the roof due to snow
There are ancient statues found mainly in Villa Pamphilj:
“Sarcophagus with Selene and Endymion”
“Odysseus under the ram”
“Bacchus” in porphyry marble restored by Alessandro Algardi (1598/1654)
“Centaur” in polychrome marble found in the mid-1800s in Albano in one of the residences of the Pamphilj
Marble relief with putti “Amor sacred profane love breaks down” about 1630 by François Duquesnoy (1597/1643)
“In the representations of cherubs he really gave something of the soul of children and he molded their bodies so round, soft and delicate that they seem to be alive and breathing. It was Duquesnoy's conception of the child which became a general European property and, consciously or unconsciously, the majority of the following representations of children derived from him” (Rudolf Wittkower)
“Descent from the Cross” by Giorgio Vasari (1511/74)
It was bought by Camillo Pamphilj in 1661 from the church of S. Augustine where he had funded some works
“Gale at sea” by the school of Pieter Mulier
Seventeenth-century copy of the old “Aldobrandini Wedding” now in the Vatican Museums
“Sacrifice of Noah” by Ciro Ferri (1634/89)
“Landscape with rest of the flight into Egypt” by Pier Francesco Mola (1612/66)
Green Room
“Annunciation” about 1445/50 by Filippo Lippi (about 1406/69)
“Typical example of telescope perspective which limits the space to the visual field and organizes it in function of the transmission of light. But, in turn, light must have internal sources in the framework, and is therefore produced by the opposed intensification of light and dark as well as by the relationship between the colors” (Giulio Carlo Argan)
“Mystical Marriage of St. Catherine” by Domenico Beccafumi (1486/1551)
“Battle of Castro” by Jacques Courtois aka Borgognone (1628/79)
“Crucifixion” from Michelangelo maybe by Annibale Carracci (1560/1609)
“St. Joseph” and “Allegory of Spring” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Circumcision” school of Giovanni Bellini (about 1432/1516)
“Christ Carrying the Cross” by Sebastiano Luciani aka Sebastiano Del Piombo (1485/1547)
“In the years following the sack of Rome Sebastiano reaffirmed in sacred painting the needs of piety and austerity that some circles were shown to agree with before their official affirmation, which took place at the Council of Trent. Christ Carrying the Cross, repeatedly replicated by Sebastian is an early example of this religious feeling that inspired devotional images drawn up according to a severe style, convenient to the tragedy of the Roman climate shaken by the terrible story of the sack” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Flood” by Carlo Saraceni (1579/1620) and Jean Le Clerc (about 1585/1633)
“Religion rescued from Spain” by Tiziano Vecellio (Titian) (about 1490/1576) and workshop
“Portrait of a man of thirty-seven” perhaps self-portrait of Lorenzo Lotto (about 1480/1556)
“In Venice painting kept true to the more mature and reflective spirit which had succeeded the luminous vapors to the early Renaissance. A spirit that led artists to see life with less enthusiasm and less illusions. Quieter pleasures were sought: the pleasures of friendship and sincere affection. It is not surprising that the Venetian artist who first expressed these new attitudes, was one who had been brought into contact with the miseries of Italy during long journeys, as it was not possible to those who stayed in Venice. Lorenzo Lotto, at his best, do not celebrate the dominance of man over things that surround him, but, in altarpieces, and even more in portraits, shows us people who needs to be comforted and supported, either by religion or by healthy ideologies, friends and loved ones. His figures look from the canvas almost asking for benevolence” (Bernard Berenson)
“St. Jerome” by Jusepe de Ribera aka Spagnoletto (1591/1652)
“Bust of Pope Innocent X” by Domenico Guidi (1625/1701)

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