Tuesday, March 14, 2017


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)
“Madonna adoring the Child” and “Fight of Putti” by Guido Reni (1575/1642)
“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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