Thursday, December 14, 2017


Museum of Venezia Palace
In the rooms of the Cybo Apartment and in the premises of the Palazzo Venezia formerly Viridarium of Paul II Barbo (1464/71), which was dismantled and moved in 1911 of about 100 m (330 feet)
Ceilings 1916 by Ludovico Seitz (1844/1908) in imitation of the style of the sixteenth century
“Bust of Pope Paul II” by the workshop of Paolo Taccone aka Paolo Romano (about 1415/77)
Venetian Paintings
“Double Portrait” about 1502 maybe by Giorgio Zorzi or Giorgio da Castelfranco aka Giorgione (1477-78/1510)
Mysterious and extremely beautiful painting where the light shines differently on the two characters, creating an effect of almost photographic realism
The young man in the foreground holds a wild orange bitter and sweet at the same time that the Renaissance was associated with the sufferings and the joys of love
“Madonna and Child” and “Head of a Young Woman” maybe by Antonio Pisano aka Pisanello (about 1390/about 1455)
The head of a young woman maybe was part of the lost decoration of the Basilica of St. John Lateran that Pisanello had carried out with Gentile da Fabriano in the first half of the fifteenth century and which was destroyed during the works of Francesco Borromini for the Jubilee of 1650
“Madonna and Child” by Paolo Veneziano (active about 1320/62)
Emilia-Romagna Paintings
“Crucifixion” first half of 1400s by Stefano da Ferrara
There are few biographical information regarding this painter and there is much uncertainty in the attributions. In this painting the expressions of torment of the faces are remarkable and innovative
“Christ Carrying the Cross” by Bernardino Zaganelli (about 1465/about 1511)
“Adoration of the Magi” by Lorenzo Sabatini (about 1530/76)
“Pieta” about 1579 by Lelio Orsi (1511/87)
“In this work there are influences of Correggio's poetry, especially in the pathos expressed by the figure of St. John the Evangelist, whereas the plasticity of the body of Christ is livid expression of a strong influence by Michelangelo, disseminated through engravings. Not to mention that from an elaboration of an idea by Michelangelo, namely the Deposition for Vittoria Colonna, comes the pose of Christ lying in the lap of the Mother” (Official website of the Museum of Palazzo Venezia -
Lazio, Umbria and Marche Regions Paintings
“Head of the Redeemer” from an artist of the school of Pietro de' Cerroni aka Pietro Cavallini (about 1240/about 1325)
“Great Painted Cross” from the church S. Tommaso dei Cenci
Processional banner “Virgin Mary of Mercy” by the Master of Staffolo
Rooms 4 and 5 - Tuscan Paintings
“Marriage of St. Catherine” by the Master of the Coronation of Christ Church
Small panel “Prophet Hosea” by Gherardo di Jacopo aka Starnina (active 1387/1409)
“Nativity” end of 1400s by the school of Filippo Lippi and Pesellino with a portrait of Lorenzo the Magnificent in the lower right
Remarkable “Head of the Redeemer” maybe by Benozzo di Lese aka Benozzo Gozzoli (1420/97), more probably by Fra' Giovanni da Fiesole aka Fra Angelico (about 1395/1455), maybe from the destroyed Chapel of Eugene IV Coldumer (1431/47)
“Episodes from the life of St. Catherine of Alexandria” by Bicci di Lorenzo (1373/1452)
“Vision of St. Bernard” by Francesco di Ubertino Verdi aka Bachiacca (1494/1557)
“Madonna and Child with Angels and Saints” by Mariotto di Cristofano (1393/1457)
Paintings on Canvas
Oldest and largest part of the collection added in 1919 from the collection Ruffo of Motta Bagnara:
“Marriage of St. Catherine” by Ciro Ferri (1634/89)
“Dance of the Nymphs” 1725 by Donato Creti (1671/1749)
“Restless temperament, haunted by an almost obsessive anxiety for perfection, Creti offers a varied range of expressive accents ranging from Veronese inclinations to his own classicism sometimes full of mannerism moods, some other times sublimated in purist formulas, almost neoclassical, largely ahead of its time. This work is a significant blend of his experiences: the party atmosphere is evoked with a Frenchified gallant grace, the traditional Arcadian landscape here is imbued with a rediscovery of more refined ways of the Emilian Mannerism, which give a more decanted and thin grace to this idyll” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)
“David and Abigail” and “Finding of Moses” by Giuseppe Maria Crespi known as the Spanish (1665/1747) from Bologna
“Dead Christ” by Orazio Borgianni (1578/1616)
“The sons of Francesco Orsini” 1597 maybe by Tiberio Titi (1578/1637), the son of the painter Santi di Tito and official portraitist of the Medici Grand Dukes
“Wedding at Cana” by Francesco Solimena (1657/1747)
“Cleopatra” by Carlo Maratta (1625/1713) who represented the Egyptian queen with the face of his daughter Faustina as she dissolves a pearl in vinegar to prove her indifference to luxury
“St. Peter weeping” by Giovanni Francesco Barbieri aka Guercino (1591/1666)
Golden terracotta “Baptism of Jesus” and “Terracotta bust of Pope Innocent X Pamphilj (1644/55)” by Alessandro Algardi (1598/1654)

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