“Still life
with oysters, flowers, fruits and animals” and “Still life with flowers, fruits
and animals” by Jan van Kessel the Elder
(1626/79)
“Sleeping Endymion” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
“Daedalus
and Icarus” maybe by Andrea Sacchi (1599/1661)
“It didn't
even look like a religious painting: simply the study of a common modern girl
sitting on a low wooden chair intent on drying her hair. Where was the meaning?
Where the prostitute repentance, her suffering, the promise of salvation? That
single barely visible tear that ran down her nose seemed insufficient. (...)
The broken string of pearls and other ornaments looked like having been ripped,
not forsaken by herself, and more than the regret and renunciation of the holy
prostitute, they reminded the punishment given to courtesans in Rome, the
lashes that a girl was threatened to get from the police” (Peter Robb)
“Rest on the Flight
into Egypt”
about 1596/98 another great masterpiece by Caravaggio
The music
of the lullaby that the angel holds in his hands is Quam pulchra es with
words from the Song of Songs and music of the Flemish Bauldewyn, symbolizing
the mystical marriage between Christ and the Virgin, and therefore between
Christ and the Church
“In this
work, the feeling of the divine and the feeling of reality live together in
perfect harmony. Structure, still that of the juvenile phase, has the space
developed in parallel levels within which the shapes are clearly outlined
almost flat. Light here is not creator of forms, but as an element to give
extreme clarity to the scene: it is falling on the Angel and it enhances the
whiteness of the veil and it is spread instead on the faces of the characters.
This canvas can be considered one of the first statements anti-mannerist style
against the religious bombast of Roman painting official” (Carlo Bertelli,
Giuliano Briganti, Antonio Giuliano)
“Seven
Mother and Child by Caravaggio remain, and, for how the face, the body, the
movements of the newborn, and the way in which the mother is holding him, were
seen by the painter, none of the other hundreds of thousands of images of this
kind produced in Italian painting would have ever surpassed them” (Peter Robb)
“Sibyl” by Massimo Stanzione (1585/1656)
“St.
Sebastian” by Ludovico Carracci (1555/1619)
“Portrait
of a Franciscan friar” maybe by Pieter Paul Rubens
(1577/1640)
“Marina
rock arch” by Salvator Rosa (1615/73)
Room
of the 1500s
“Salome with the Head
of John the Baptist” by Tiziano Vecellio (Titian) (about
1490/1576)
“Double Portrait
maybe of Agostino Beazzano and Andrea Navagero” by Raffaello
Sanzio (Raphael) (1483/1520)
“The field
where the penetration and psychological confidence of Raphael are more happily
combined with his sense of subtle values, subdued ranges, is the portrait.
(...) In these portraits of writers Raphael seems to have expressed himself representing
more an ideal than a character: the vocation of poetry and love. The authority
of the artist has so created a sort of portrait-type” (André Chastel)
“Portrait
of a couple” by Sofonisba Anguissola (about
1531/1626)
“Portrait
of a Young Gentleman” by Jacopo Robusti aka Tintoretto
(1518/94)
“Return of
the Prodigal Son” by Francesco da Ponte aka Bassano the
Younger (1549/92) and Jacopo da Ponte aka Jacopo
Bassano (about 1510/92)
“Portrait of Niccolò Machiavelli” by Cristofano dell'Altissimo (?/1605)
“Portrait of Girolamo Beltramoto” circle of Giovanni Luteri
aka Dosso Dossi (about 1486/1542)
Room
of the 1400s
“Pietà
(Mercy)” and “Massacre of the Innocents with Rest on the Flight into Egypt” by
Ludovico Mazzoli aka Ludovico Mazzolino (about
1479/about 1529)
“Madonna
and Child” by an artist of the school of Antonio Aquili
aka Antoniazzo Romano (about 1435-40/1508)
“Holy
Family” and “Visitation” by Benvenuto Tisi aka Garofalo
(about 1481/1559)
“Nativity
with Sts. Francis, John the Baptist and Mary Magdalene” by Giovanni Battista
Benvenuti aka Ortolano (1487/after 1524)
“Sts.
Anthony Abbot and James the Apostle” and “Sts. Christopher and John the Baptist”
by Bicci di Lorenzo (1373/1452)
Two “Stories
of St. Anthony Abbot” and “Temptation of St.
Anthony” by Bernardo Parentino (1434 or 1437/1531)
“The
triptych is dated in the mature phase of the master, in the ninth decade of the
fifteenth century, when he was at the court of Mantua. The panels, perfectly
preserved, have a strong relationship with Andrea Mantegna and the relief with
putti reminds of a sarcophagus painted by an artist in the circle of
Squarcione. Moreover Bernardo himself executed drawings inspired from ancient
artworks very similar to the works of Mantegna and of the circle of Squarcione,
while some torment in the contours also recalls the works of Cosmè Tura and
Ercole de' Roberti from Ferrara” (Official Website of the Galleria Doria
Pamphilj - www.dopart.it)
“Lamentation over the
Dead Christ with a donor” by Hans Memling (1435-40/1494)
“Two old
men in prayer (the hypocrites)” by the Belgian Quinten
Massys (1466/1530)
“Marriage”
and “Birth of the Virgin
Mary” by Giovanni di Paolo
(about 1400/82)
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