Reconstruction
as a palace of the homes of the Colonna family, of which the Sciarra constitute
a branch
The palace
was called Palazzo Sciarra in honor of Sciarra Colonna, who gave the famous “slap”
of Anagni in 1303 to Pope Boniface VIII (1294/1303)
Reconstruction
began after 1550, continued in 1610 maybe with Flaminio
Ponzio (1560/1613) and ended in about 1641 with Orazio
Torriani (about 1601/about 1657)
Library
1745 by Luigi Vanvitelli (1700/73) who restored
also other rooms for Cardinal Prospero Colonna
Restoration
in the years 1875/82 by Francesco Settimj
(active 1875/88) and 1882/95 by Giulio De Angelis
(1850/1906) who also built in the block of the building the Teatro Quirino (it had
originally built in wood in 1871) the first theater of united Italy and the Galleria Sciarra
Giulio De
Angelis reduced considerably the size of the building with the opening of Via
Minghetti and the construction of theater and gallery
Beautiful PORTAL
1641 by Orazio Torriani which, according to
popular tradition, was carved from a single huge block of marble
In the
eighteenth and nineteenth centuries it was considered one of the four wonders
of the city with Palazzo Farnese, Palazzo Borghese and the
Caetani Staircase in Palazzo Ruspoli
In 2010 the
work of restoration of the interior finished. It was sponsored by the FONDAZIONE
ROMA (Rome Foundation), which has its headquarters in the building and made it
home to temporary exhibitions with the nearby Palazzo della Cassa di Risparmio
di Roma also called Palazzo Cipolla
The Rome
Foundation has a permanent art collection in the palace with many important
works ranging from the fifteenth century to present day. Most of the works have
a close connection, for the subject or for the artists responsible for them,
with the city of Rome, the focus of the activity of the foundation
Among the masterpieces:
Tempera
on wood “Imago Pietatis” about 1480/82 maybe by Piermatteo
Lauro Manfredo aka Piermatteo d'Amelia
(1446-48/about 1506)
“The attribution
to the painter from Amelia is supported by iconographic and stylistic
comparison with works of different nature, but of the same subject, in Orvieto
and Terni. (...) This Christ shows, in the exquisitely linearity that pervades
it, the close relationship with Florentine culture, to which refers indirectly
also the clear luminosity similar to the one of Piero Della Francesca and the
strong geometric presence of the uncovered tomb, which is the only spacial
element of the work. (...) The strong plastic emphasis seems to prove the
progressive approach of the artist towards Antoniazzo Romano, with whom he
worked closely in the second half of the eighties in Rome” (Laura Auciello)
Oil on
board “Pieta” by Marcello Venusti
(about 1512/79)
Oil
painting “Madonna reading and
Child with Sts. Elizabeth and John the Baptist” by Francesco de' Rossi aka Francesco Salviati (1510/63)
Oil on
canvas “Moses frees the
daughters of Jethro” by Ciro Ferri (1634/89)
Oil on wood
“Madonna and Child
enthroned with the Archangels Michael and Raphael” by Angelo
Caroselli (1585/1652)
“The oldest
sources document in the biography of the artist, his outstanding erotic
inclinations: “He was very dedicated... to love... He painted with great
assiduity, and delight, when surrounded by vague maidens was flattered by some
sweet sight...” (Passeri) (...) It is interesting to examine his overwhelming
production (...) of works for private buyers, partly still on the antiquities
market, painted in fifty years of activity. They attest to a plurality of
interests and to an eclectic background that would associate Caroselli to the
naturalists of the third decade (Valentin, Régnier, Paolini), or to Venetian
models, or even to the formal paradigms of the painters from Bologna (Annibale
Carracci, Domenichino). An explicit archaic will determines in some of his most
beautiful works (Madonna enthroned with the Archangels Michael and Raphael) an
impressive neo-Renaissance scheme (the references are to Piero Della Francesca,
Bronzino, Allori, to the sixteenth century Venetian painters), as a conscious
attitude of rejection and failure against the triumphant baroque absolutism”
(Anna Ottani Cavina - Dizionario Biografico degli Italiani Treccani)
Oil on
canvas “Achilles meets Teti
near the Centaur Chiron” by Bernardino Cesari (1571/1622) brother
of the Cavalier d'Arpino
Oil on
canvas “Landscape with Roman
ruins” by
the Flemish Willem Van Nieulandt II (1584/1635)
Oil on
canvas “Landscape with
idealized view of Rome” by the Flemish who settled in Rome Jan Frans
van Bloemen aka Orizzonte (1662/1749)
Two oils on
canvas “View of St. Peter's Square” and “View of Monte
Cavallo” by Giovanni Paolo Pannini (1691/1765)
Oil on
canvas “Portrait of Giacinta
Orsini Boncompagni Ludovisi” by the great Pompeo Batoni (1708/87)
Oil on
canvas “Start of the race of
Berbers in Piazza del Popolo” by the English Thomas
Jones Barker (1813/82)
There are also works of the twentieth century:
“Cabins in
the Pontine Marshes” by Onorato Carlandi (1848/1939)
“Pollarole
(Fight of commoners)” by Alberto Ziveri
(1908/90)
“Training in Parioli” by Ferruccio
Ferrazzi (1891/1978)
“Hunting
the Tiger I” and “Hunting the Tiger II” by Marino
Mazzacurati (1907/69)
“Lungotevere Ripetta” and “S. Giorgio in Velabro” by Francesco Trombadori (1886/1961)
Bronze
sculpture “Twentieth Century” by Arnaldo Pomodoro
(1926)
“Allstars”
by Mario Schifano (1934/98)
“The room
unvoiced” by Emilio Tadini (1927/2002)
“Mirror” by Enrico Baj
(1924/2003)
“Michelangelo” Tano Festa
(1938/88)
No comments:
Post a Comment