Third
Corridor
“Allegory of Virtue” by Antonio
Allegri aka Correggio (1489/1534)
Beautiful
unfinished painting that was perhaps a source of inspiration for the sculpture by
Gian Lorenzo Bernini Truth Unveiled by Time also unfinished
“Landscape
with rest of the flight into Egypt” by Claude Lorrain
(1600/82)
“The Holy
Family with Saints Elizabeth and John the Baptist”, “Holy Family with Saints
Joachim and Anna” and “Marriage of St. Catherine of Alexandria” by Benvenuto
Tisi aka Garofalo (about 1481/1559)
“Penitent Magdalene” by Domenico
Fetti (1589/1623)
“It caused a
stir this sober and remorseful prototype of great fortune, (...) loose,
nervous, impeccable union of Rubens' style and Venetian color scheme” (Gabriel
Milantoni - Dizionario Biografico degli Italiani Treccani)
“Juno sets
Argo's eyes in the peacock's tail” by Orazio Riminaldi
(1593/1630) from Pisa
“St.
Francis in Ecstasy” by Francesco Albani
(1578/1660)
“St. Jerome”
by Lorenzo Lotto (about 1480/1556)
“Study of
head (St. Jude?)” by Federico Fiori aka Barocci
(1535/1612)
“Barocci had
a real passion for the subtle gradations ranging from clearer and brighter gray
until the purest white, for the more transparent color of complexion and
especially for the refractions of the color tone through the poignant intensity
of light. Sometimes his works remind of pastel paintings magnified” (Hermann
Voss)
“Return of
the Prodigal Son”, “St. John the Baptist in the desert” and “Martyrdom of St.
Agnes” by Giovanni Francesco Barbieri aka Guercino
(1591/1666)
“Boy with
bat in hand”, “Girl pouring oil from a lamp”, “Young singer” and “Young singer
crowned with laurel” of the Master of the Candle
(first half of 1600s)
“Satyr and
Shepherd” maybe by Annibale Carracci (1560/1609)
“Woman with
a lamp” and “Man with oil lamp” by Wolfgang Heimbach
(about 1615/about 1678)
“Battle in the Port
of Naples”
and “Garden of Eden” by Pieter Brueghel the Elder
(1526-31/1569), father of Jan Brueghel the Elder
“Christ led
to Calvary” by Alessandro Allori aka Bronzino
(1533/1607) pupil of Agnolo di Tori Cosimo aka Bronzino
“Crucifixion”
by Marcello Venusti (about 1512/79) from a lost
original by Michelangelo Buonarroti
“Holy
Family” and “Madonna in prayer” by G.B. Salvi aka
Sassoferrato (1609/85)
“The great
popularity of inventions by Sassoferrato painting comes from the ability to
create images of essential beauty and immediate emotional perception.
Accordingly he stands on the continuation of Scipio Pulzone from Gaeta and on
the line of his great Florentine follower Carlo Dolci” (Maria Antonietta De
Angelis)
“Adoration
of the Shepherds” by Francesco da Ponte aka Bassano the
Younger (1549/92)
“Madonna
and Child with St. John the Baptist” by Giovanni Bellini
(about 1432/1516) and workshop
“Seascape
with shipyard and good luck” by Agostino Tassi
(1578/1644)
“Allegory of Taste” by Giovanni
Francesco Romanelli (1610/62) from Viterbo, a pupil of Pietro da Cortona
“Garden of Eden” by Jacopo da Ponte aka Jacopo Bassano (about 1510/92)
“Preaching
of St. John the Baptist” by Giuseppe Passeri
(1654/1714)
“Birth of
the Virgin Mary” by Francesco Trevisani
(1656/1746)
“Bust of Pope
Innocent X”
by Alessandro Algardi (1598/1654)
Room
of the 1700s
Two “Views
of Venice” by Gaspar van Wittel (1653/1736)
Great
painter Dutch landscape painter who worked for the Colonna family. He had his
name translated in Italian as Vanvitelli and was the father of the great
architect Luigi Vanvitelli
“He was
perhaps the first true 'landscape painter' of art history. Often remembered as
a forerunner of Italian Giovanni Antonio Canal, called Canaletto, the Dutch
painter is famous for his so-called exact views of many Italian cities and
landscapes, to which Canal himself will refer to. Like Canaletto later, (...)
Gaspar made extensive use of the camera obscura, a pre-photographic tool
strikingly modern at that time, which allowed the artist to have before his
eyes the reflection of the inverted image to paint. It was a portable cabin,
completely blacked out, with a hole at the top and a mirror which, when tilted,
projected inside the room, the live image, an 'exact' vision of the subject
that the artist painted and modeled on” (Paolo Gallinaro - ilmediano.it)
“Magdalene”
by Sebastiano Conca (1680/1764)
Four “Landscapes”,
formerly panels placed above doors, by Paolo Anesi
(1697/1773)
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