1731/34 Gabriele Valvassori (1683/1761)
Ancient
statues completed arbitrarily by restorers
Ceiling fresco “Fall of Giants”, “Stories
of Hercules” and “Allegory of the four parts of the world” 1731/34 by Aureliano Milani (1675/1749)
“It is a
culmination of the Carracci influence on Milani, having the decoration of the
Farnese Gallery as an essential point of reference. It is, therefore, a work
entirely referring to the past, from the reprise of the fake frames scheme,
essentially isolated and anomalous in the panorama of contemporary Roman
painting, and indeed in strong contrast with the novelties of Sebastiano Conca
and Luca Giordano. According to Zanotti, Milani, 'having been able to choose
the subjects of his stories, chose muscular, naked and proud men which here
constitutes the sum of his knowledge' (p. 165): there was actually no
iconographic link between episodes of Fall of Giants and those with Hercules as
the protagonist, and Milani's obsession for depiction of nudes here reaches
paroxysm” (Stefano Pierguidi)
“Passage of
the Red Sea” by Antonio Tempesta (about
1555/1630)
Cabinet
of Velásquez
“Portrait of Pope Innocent X Pamphilj
(1644/55)” by Diego Rodriguez de Silva y Velásquez (1599/1660)
“Bust of Pope
Innocent X”
about 1650 by Gian Lorenzo Bernini (1598/1680)
replicated immediately after a previous version now in the fourth corridor had
shown a crack
First
Corridor
“Landscape with the
Flight into Egypt” 1603/04 for the now demolished Chapel of the Palazzo Aldobrandini and “Landscape
with Mary Magdalene Penitent” by Annibale Carracci
(1560/1609) who maybe also painted a “St. Jerome”
“Annibale,
first among the seventeenth-century interpreters of classical style, started
up, in the last years of his intense activity, a new figurative conception of
landscape painting. Flight into Egypt is the archetype of the classical ideal
landscape. That classicist poetics that had inspired figure painting and art
history and which had underlined the search for truth and beauty, now involves
the concept of nature. This balanced and rational interpretation of space is a
mirror of a classical path of idealization. Nature too is pervaded by the
inspiration of beauty; through a complex, sentimental and poetic relationship
nature becomes part of life, of history, of humanity. The landscape becomes
ideal as home of the myths of humankind” (Carlo Bertelli, Giuliano Briganti,
Antonio Giuliano)
“Madonna
and Saints in Glory” and “Holy Family” by Benvenuto Tisi aka Garofalo (about 1481/1559)
“Landscape
with the creation of animals” formerly lid of a spinet maybe by the Belgians Roelandt Savery (1576/1639) and Hendrick van Balen (1575/1632)
“Landscape with
figures dancing”, “Landscape with Diana, Cephalus and Procris,” “Landscape with Apollo
and Mercury stealing the sheep of Admetus” and “View of Delphi with a
procession” by Claude Lorrain (1600/82)
“He
continued the nobilitation of nature in art, he had an extraordinary immediate relationship
with the Roman countryside which he studied in depth. Lorrain was a master in
interpreting the mutability of light depending on the season and time of day,
and he always adopted a thoughtful compositional arrangement of these
naturalistic elements” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“Polyphemus and Galatea” by Giovanni
Lanfranco (1582/1647)
Five
lunettes with landscapes and stories from the New Testament:
“Assumption”
“Visitation,” “Deposition of Christ,” “Adoration of the Shepherds” and “Adoration
of the Magi” drawn by Annibale Carracci but
completed by Francesco Albani (1578/1660)
“The Holy
Family with Saints Catherine and Cecilia” also by Francesco
Albani
“Christ in
the Pharisee's house” by Ludovico Cardi aka Cigoli
(1559/1613)
“Landscape
with old blind Tobias” by Pietro Paolo Bonzi aka the
Hunchback of Carracci (about 1576/1636)
“Venus, Mars and
Cupid” by Paris Bordon (1500/71)
“Fight of putti”
by Andrea Podestà (about 1608/before 1674)
“Erminia finds
Tancred wounded” by Giovanni Francesco Barbieri aka Guercino
(1591/1666)
“S. Rocco
leper cured by the Angels” by Carlo Saraceni
(1579/1620)
“The chromatic
sensitivity, expressed through bright colors and detectable in works like this,
resolved Caravaggio's luminosity in tonal and naturalistic sense; light effects
agreed on gradual color tones, in fact, derive from a natural reality and give
the subject psychological tension. Saracens was the only artist of Venetian
training, as well as the experiences of some artists from Verona, to be engaged
in the Caravaggio research and, however, his clear palette and the frequent
outdoors scenes consistently reaffirmed his background” (Carlo Bertelli,
Giuliano Briganti, Antonio Giuliano)
“Rustic
Feast” maybe by David Teniers the Younger
(1610/90)
“Woman
getting read of fleas” by the so-called Master of the
Candle
“The
usurers” by the Belgian Quinten Massys
(1466/1530)
“Deposition”
by an artist of the school of Paolo Caliari aka Veronese (1528/88)
“Portrait
of Agatha van Schoonven” by Jan Van Scorel
(1495/1562)
“It is among
the most known works of the great Dutch artist, among the first to 'become
Roman' with a trip to Italy. Protected by Pope Adrian VI (1522/23), he obtained
a canonry in Utrecht, where he lived with his young girlfriend portrayed here.
It is a rare example of affective portrait of an artist's woman. (...) For this
and for the excellent quality of execution, the work has been widely featured
in the literature. It was stolen by a thief dressed as a friar, who replaced it
with a copy, only to be found soon after” (Official Website of the Galleria
Doria Pamphilj - www.dopart.it)
“St.
Jerome in Penitence” by Domenico Beccafumi
(1486/1551)
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