Friday, March 17, 2017


Room of the 1600s
“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)
“Penitent Magdalene” 1594/95 by Michelangelo Merisi aka Caravaggio (1571/1610)
“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)
“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 -
“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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