Sunday, March 19, 2017


Second Corridor or Gallery of Mirrors
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
“Dido” by Giovanni Luteri aka Dosso Dossi (about 1486/1542)
“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 -
“St. Jerome in Penitence” by Domenico Beccafumi (1486/1551)

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