DORIA PAMPHILJ PALACE - DORIA PAMPHILJ GALLERY (third part)

Third Corridor

“Allegory of Virtue” by Antonio Allegri aka Correggio (1489/1534)

Beautiful unfinished painting that was perhaps a source of inspiration for the sculpture by Gian Lorenzo Bernini Truth Unveiled by Time also unfinished

“Landscape with rest of the flight into Egypt” by Claude Lorrain (1600/82)

“The Holy Family with Saints Elizabeth and John the Baptist”, “Holy Family with Saints Joachim and Anna” and “Marriage of St. Catherine of Alexandria” by Benvenuto Tisi aka Garofalo (about 1481/1559)

“Penitent Magdalene” by Domenico Fetti (1589/1623)

“It caused a stir this sober and remorseful prototype of great fortune, (...) loose, nervous, impeccable union of Rubens' style and Venetian color scheme” (Gabriel Milantoni - Dizionario Biografico degli Italiani Treccani)

“Juno sets Argo's eyes in the peacock's tail” by Orazio Riminaldi (1593/1630) from Pisa

“St. Francis in Ecstasy” by Francesco Albani (1578/1660)

“St. Jerome” by Lorenzo Lotto (about 1480/1556)

“Study of head (St. Jude?)” by Federico Fiori aka Barocci (1535/1612)

“Barocci had a real passion for the subtle gradations ranging from clearer and brighter gray until the purest white, for the more transparent color of complexion and especially for the refractions of the color tone through the poignant intensity of light. Sometimes his works remind of pastel paintings magnified” (Hermann Voss)

“Return of the Prodigal Son”, “St. John the Baptist in the desert” and “Martyrdom of St. Agnes” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

“Boy with bat in hand”, “Girl pouring oil from a lamp”, “Young singer” and “Young singer crowned with laurel” of the Master of the Candle (first half of 1600s)

“Satyr and Shepherd” maybe by Annibale Carracci (1560/1609)

“Madonna adoring the Child” and “Fight of Putti” by Guido Reni (1575/1642)

“Woman with a lamp” and “Man with oil lamp” by Wolfgang Heimbach (about 1615/about 1678)

“Battle in the Port of Naples” and “Garden of Eden” by Pieter Brueghel the Elder (1526-31/1569), father of Jan Brueghel the Elder

“Christ led to Calvary” by Alessandro Allori aka Bronzino (1533/1607) pupil of Agnolo di Tori Cosimo aka Bronzino

“Crucifixion” by Marcello Venusti (about 1512/79) from a lost original by Michelangelo Buonarroti

“Holy Family” and “Madonna in prayer” by G.B. Salvi aka Sassoferrato (1609/85)

“The great popularity of inventions by Sassoferrato painting comes from the ability to create images of essential beauty and immediate emotional perception. Accordingly he stands on the continuation of Scipio Pulzone from Gaeta and on the line of his great Florentine follower Carlo Dolci” (Maria Antonietta De Angelis)

“Adoration of the Shepherds” by Francesco da Ponte aka Bassano the Younger (1549/92)

“Madonna and Child with St. John the Baptist” by Giovanni Bellini (about 1432/1516) and workshop

“Seascape with shipyard and good luck” by Agostino Tassi (1578/1644)

“Allegory of Taste” by Giovanni Francesco Romanelli (1610/62) from Viterbo, a pupil of Pietro da Cortona

“Garden of Eden” by Jacopo da Ponte aka Jacopo Bassano (about 1510/92)

“Preaching of St. John the Baptist” by Giuseppe Passeri (1654/1714)

“Birth of the Virgin Mary” by Francesco Trevisani (1656/1746)

“Bust of Pope Innocent X” by Alessandro Algardi (1598/1654)

Room of the 1700s

Two “Views of Venice” by Gaspar van Wittel (1653/1736)

Great painter Dutch landscape painter who worked for the Colonna family. He had his name translated in Italian as Vanvitelli and was the father of the great architect Luigi Vanvitelli

“He was perhaps the first true 'landscape painter' of art history. Often remembered as a forerunner of Italian Giovanni Antonio Canal, called Canaletto, the Dutch painter is famous for his so-called exact views of many Italian cities and landscapes, to which Canal himself will refer to. Like Canaletto later, (...) Gaspar made extensive use of the camera obscura, a pre-photographic tool strikingly modern at that time, which allowed the artist to have before his eyes the reflection of the inverted image to paint. It was a portable cabin, completely blacked out, with a hole at the top and a mirror which, when tilted, projected inside the room, the live image, an 'exact' vision of the subject that the artist painted and modeled on” (Paolo Gallinaro - ilmediano.it)

“Magdalene” by Sebastiano Conca (1680/1764)

Four “Landscapes”, formerly panels placed above doors, by Paolo Anesi (1697/1773)

CORSINI PALACE - CORSINI GALLERY (seventh part)

Room VI - Green Cabinet

“The room was one of the reception rooms of the apartment of Neri Maria and, together with the two following room, it was destined to receive guests. At the time of Cardinal Andrea Corsini (1735/95), who succeeded his uncle as the owner of the apartment, the room had undergone a series of transformations (1777/79). (...) The current structure of the hall dates back to 1907 when, to gain a greater exhibition space for portraits, the living room and the adjacent chapel were demolished” (Official Website of the Galleria Corsini - galleriacorsini.beniculturali.it)

“Marble funerary urn of M. Servilius” first century AD

“Marble head of Silenus” second century AD

“Bust of Pope Clement XII Corsini (1730/40)” by Pietro Bracci (1700/73) who immortalized precisely and mercilessly the severe and frowning grin of Pope Corsini

“Portrait of Cardinal Neri Corsini senior (1599/1678)” by G.B. Gaulli aka Baciccio (1639/1709)

Beautiful “Madonna and Child” by the specialist G.B. Salvi aka Sassoferrato (1609/85)

“Portrait of a Knight of the Order of Sts. Maurice and Lazarus” by Agostino Carracci (1557/1602) brother of Annibale

“In the painting movement which he founded with his brother and that had in his heart the Accademia dei Desiderosi (Academy of Desiring), later Incamminati (Walkers), he was the theoretician and the researcher. Of this critical attitude and interpretation of the formal values of the great masters are proof his engravings” (Enciclopedia Treccani)

Sketch by Francesco Cozza (1605/82) for the “Pieta” in Room II

“Portrait of Cardinal Giacomo Savelli” by Scipione Pulzone (about 1550/98)

“Pupil perhaps of Jacopino del Conte, he reached fame with his portraits of famous Roman people, inspired by the sixteenth-century Flemish portraiture, portrayed with great technical ability and virtuosic attention the physical characteristics and social attributes of the subjects” (Enciclopedia Treccani)

“St. Anthony of Egypt” by Antonio Allegri aka Correggio (1489/1534)

“Portrait of Cardinal Ferdinando de' Medici” school of Alessandro Allori aka Bronzino (1533/1607) pupil of Agnolo di Cosimo aka Bronzino

“Portrait maybe of Guercino” by Guido Cagnacci (1601/63), a pupil of Guido Reni but influenced by Caravaggio

“After a start vaguely influenced by Caravaggio he approached Guido Reni, accepting Venetian influences in a personal way. He did not disdain strong baroque effects only to compose himself eventually in a measured classicism” (Enciclopedia Treccani)

“Portrait of Luigi Scaramuccia” by Francesco Cairo (1607/65)

“Portrait of Cosimo Medici III” by the Flemish Giusto Susterman (1597/1681)

“Portrait of Cardinal Antonio Barberini junior” and “Self-Portrait” by Simone Cantarini (1612/48)

“Cantarini was the best student of Guido Reni and the only painter of his circle to be able to formulate a highly personal style: his rich palette, the colors slightly graduated and new inflections in the poses of the figures helped to introduce in Bologna the painting more delicate and intimate of the last decades of the seventeenth century. His influence is evident in particular with the work of his pupil Lorenzo Pasinelli, and of the younger Donato Creti” (Dwight C. Miller - Dizionario Biografico degli Italiani Treccani)

“In the self-portrait of Simone Cantarini the message is clear and direct: the viewer observes the painter who observes himself and wonders in the mirror pretending to look at the model. Art, therefore, is a mirroring of life, a pattern or a project to follow with passion and absolute dedication” (Sivigliano Alloisi)

“Portrait of a Man” copy from Francesco di Cristofano aka Francabigio (1484/1525)

“Portrait of a Man possibly Pietro Strozzi” by Pier Francesco di Jacopo Foschi (1502/67)

“Portrait of a Man” by the French Claude Lefebvre (1637/75)

“Portrait of Michele Peretti” about 1608 by Pietro Fachetti (1535/post 1616)

Michele Peretti was the great-nephew of Sixtus V Peretti (1585/90)

“While not free from the influence of Scipio Pulzone, this painting stands out for the richness of colors, dense and condensed in the game of the flesh which results in a plastic-linear firmness that is linked to a nagging of lights of enhanced accuracy. It is a testimony of a complex training in which the influence of Caravaggio's portraits are grafted onto a culture that is still affected by memories of Mantua, Flemish and even from Rubens” (Sivigliano Alloisi)

“Portrait of a Man” by Ottavio Leoni (1578/1630)

“Portrait of a Man” by Carlo Maratta (1625/1713)

“Portrait of a Man” by Bartolomeo Passerotti (1529/92)

“Portrait of a Man” by Franz Pourbus the Younger (1569/1622)

“Portrait of a Man” by an artist of the French school of the seventeenth century

“Portrait of a Nun” by an artist of the Bolognese school

“St. John the Baptist as a young man” by an artist of the Emilia school

“Portrait of two Young Princes” and “Portrait of a Woman” maybe by an artist of the Parma school

“Portrait of a Gentleman” by an artist of the Venetian school of the sixteenth century

“Bay with fishermen” and “Bay with fishermen pulling nets to dry” by Jacob de Heusch (1656/1701)

“Jacob De Heush is one of the Italianate painters less sensitive to his culture of origin (...). His landscapes are affected by Salvator Rosa, but do not have the vigor and inventiveness of the Neapolitan painter. He mainly painted marine and deep bays animated by fantastic rocks, towers, canals and gesticulating figures who exercised a certain influence on the Roman painters of the next generation” (Sivigliano Alloisi)

“Shepherd with herd” by the Roman Andrea Locatelli (1693/1741)

“Landscape with marina and ruins”, “Landscape with marina and lighthouse”, “Landscape with cliff” and “Landscape with ruins” by Salvator Rosa (1615/73)