CARPEGNA PALACE - GALLERY OF THE ACADEMY OF St. LUKE (third part)

SOME OF THE MASTERPIECES EXHIBITED OR KEPT IN STORAGE

Paintings

Fresco representing a “Putto” maybe by Raffaello Sanzio (Raphael) (1483/1520) to whom it is also traditionally assigned the painting “St. Luke painting the Virgin Mary”

“Annunciation to the Shepherds” by Jacopo Da Ponte aka Jacopo Bassano (about 1510/92)

“Polish Prince” and “Virgin Mary and Child with Angels Musician” by Antoon Van Dyck (1599/1641)

“Nymphs crown Abundance” by Peter Paul Rubens (1577/1640)

“Judith and Holofernes” by G.B. Piazzetta (1683/1754)

“The artistic expression of Piazzetta was the result of extraordinary intensity of feeling, not diluted, but deliberately concentrated in dense and short summaries of painting. In fact Piazzetta, although Venetian by birth, education and art, seems to have wanted to pursue a tantalizingly mirage of plastic perfection: so that his work ranged, because of its inherent extreme difficulty, between the highest pinnacles of art and the disappointment of not reaching the desired results. Technically, the painter is distinguished by the Venetians of his time for a strong unusual draughtsmanship, although his is a pictorial design, without anything of linear in itself. It would be enough as evidence to remind how he was the greatest drawer of the eighteenth century” (Enciclopedia Treccani)

“Self-Portrait” by Federico Zuccari (about 1542/1609)

“Portrait of Pietro Bernini” maybe by his son Gian Lorenzo Bernini (1598/1680)

“Love joking”, “Bacchus and Ariadne” and “Sorrowful Madonna” by Guido Reni (1575/1642)

“Portrait of Pope Clement XI Albani (1700/21)”, “Glory of Angels”, “Madonna and Child” and “The Birth of John the Baptist” by G.B. Gaulli aka Baciccio (1639/1709)

Eight paintings including “Landscapes” by Salvator Rosa (1615/73)

Oil on copper “Virgin and St. Francis” copy from the church S. Maria della Vittoria by Domenico Zampieri aka Domenichino (1581/1641)

“Portrait of Ippolito Riminaldi”, “Portrait of Marino Corner” and “St. Jerome” Tiziano Vecellio (Titian) (about 1490/1576)

“The singer” and “Tarquin killing Lucretia” by Guido Cagnacci (1601/63)

Three paintings with “Roman Ruins” including “The Archaeologist” 1749 by Giovanni Paolo Pannini (1691/1765)

“Self Portrait” by Lavinia Fontana (1552/1614)

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

“Venus and Cupid” by Giovanni Francesco Barbieri aka Guercino (1591/1666)

“St. Bartholomew”, “St. Andrew” and “Portrait of a Woman” by Alessandro Allori aka Bronzino (1533/1607) a student of Agnolo di Cosimo aka Bronzino

“Rest on the Flight into Egypt” by Federico Fiori aka Barocci (1535/1612)

“Jael killing Sisera”, “Virgin in prayer” and twelve portraits by Carlo Maratta (1625/1713)

“The Plague” by Mattia Preti (1613/99)

“Bacchanal” and “Immaculate Conception” by Corrado Giaquinto (1703/66)

Five paintings including “Cupid and Psyche” and “St. Benedict in the bush” 1694/95 by Benedetto Luti (1666/1724)

Four paintings by Francesco Trevisani (1656/1746)

“Faustulus entrusts Romulus and Remus to Larentia” about 1739 by Jean François de Troy (1679/1752)

“Mystic Marriage of St. Catherine” by Sebastiano Conca (1680/1764)

“Portrait of the English painter John Parker”, “Christ with St. Margaret of Cortona” and “Self-Portrait” by Marco Benefial (1684/1764)

“The simplicity of the representation (of this self-portrait by Benefial), which focuses on the individual, as it appears, ignoring attributes and ornaments, seems to be an important element of identification, together with the fiery attitude, a little contemptuous and his character shown without fear and uncertainties. A probable date for the painting is the middle of the second decade of the eighteenth century, showing the sitter here when he was about forty years old. Regarding the revolutionary art of the Roman artist Evelina Borea spoke 'of a strong and passionate naturalism absolutely innovative in those years in Rome', ‘of singular naturalistic clarity' and 'of a clarification of the detail, never giving up to decorative frills' (in E. Borea, Benefial Marco, DBI, 8, Rome, 1966, pp. .467), elements that we can fully relate to the work here examined” (Antonello Cesareo - Website of the Academy of St. Luke www.accademiasanluca.it)

“Synagogue” by the English William Hogarth (1697/1764)

“Portrait of the father Gaspar van Wittel” by Luigi Vanvitelli (1700/73)

“Allegory of Gratitude” 1706 by Pier Leone Ghezzi (1674/1755)

“The painting became part of the academic collections as 'joining gift' by Pier Leone Ghezzi. Starting from the oldest statutes of the Society, in fact, it was prescribed that each new member at the time of appointment would donate an essay of his art as a gift to the academic collections. (...) The iconography of the 'Gratitude' is derived from the 'Iconology' by Cesare Ripa. (...) The inscription on the table and the presence of the evergreen juniper allude to the durability of memory. On the day of admission of Pier Leone Ghezzi to the Academy was present Giuseppe, his father who, as the sources mention, played an important role in the education of his son” (Paola Picardi)

“Death of the Virgin Mary” by Francesco Coghetti (1801/75)

“Cathedral of Orvieto” by Annibale Angelini (1812/84)

“Funeral of Julius Caesar” and “Self-Portrait” by Pietro Gagliardi (1809/90)

“Portrait of Marianna Waldestein of Santa Cruz” by Andrea Appiani (1754/1817)

“Ulysses at the court of Alcinous” and “Triumphant Athlete” by Francesco Hayez (1791/1882)

“Self Portrait” by the Dutchman naturalized Briton Laurens Alma-Tadema (1836/1912)

“He first painted subject of medieval German history, but after a trip to Italy in 1863, he turned instead to subjects of ancient history. In 1870 he settled in London and specialized in scenes of Rome, which received great success: effects of artificial figures seen against polished marbles, illusionistic skills playing textiles, meat, metals” (Enciclopedia Treccani)

“Naked Woman” 1900 by Giulio Aristide Sartorio (1860/1932)

“Portrait of a Woman” by Scipione Vannutelli (1834/94)

Three watercolors by Enrico Coleman (1846/1911)

“Return from fishing” by Umberto Coromaldi (1870/1948)

“Farmer” and “Self-Portrait” 1958 by Giacomo Balla (1871/1958)

“The Philosopher” 1954 by Carlo Carrà (1881/1966)

“Portrait of a Woman” by Tranquillo Cremona (1837/78)

Sketch of “The Deposition” by Adolfo De Carolis (1874/1928)

“Female friends reading” and “Self-Portrait” by Ercole Drei (1886/1973)

THERE ARE ALSO PAINTINGS BY:

Giovanni Antonio Canal aka Canaletto (1697/1768), Jacopo Negretti aka Jacopo Palma il Giovane (1544/1628), Paris Bordon (1500/71), Ciro Ferri (1634/89), Orazio Borgianni (1578/1616), Marcello Venusti (about 1512/79), Nicolas Poussin (1594/1665), Giovanni Francesco Romanelli (1610/62), Luigi Garzi (1638/1721), Gaspard Dughet (1615/75), Rosalba Carriera (1675/1757), Giuseppe Chiari (1654/1727), Paul Brill (1554/1626), Lazzaro Baldi (about 1624/1703), Jacques Courtois aka Borgognone (1628/79) e Guillaume Courtois (1628/79) both known as Borgognone, Giacomo Zoboli (1681/1767), Giovanni Odazzi (1663/1731), Giacomo Triga (1674/1746), Gaetano Lapis (1706/76), Ludovico Gimignani (1643/97) e suo padre Giacinto Gimignani (1606/81), Pier Francesco Mola (1612/66), Giuseppe Ghezzi (1634/1721), Placido Costanzi (1702/59), Giuseppe Passeri (1654/1714), Nicolò Ricciolini (1687/1772), Laurent Pécheux (1729/1821), Domenico Corvi (1721/1803), Pierre Subleyras (1699/1749), Etienne Parrocel (1696/1774), Gaspare Landi (1756/1830), Giuseppe Cesari aka Cavalier d'Arpino (1568/1640), Jan Frans Van Bloemen aka Orizzonte (1662/1749), Gaspar van Wittel (1653/1736), Anton von Maron (1733/1808), Jean-Baptiste Wicar (1762/1834), Vincenzo Camuccini (1771/1844), Francesco Podesti (1800/95), Alessandro Capalti (1807/78), Pio Joris (1843/1921), Francesco Grandi (1831/91), Silverio Capparoni (1831/1907), Tommaso Minardi (1787/1871), Ludovico Seitz (1844/1908), Ludovico Stern (1709/77), Giulio Bargellini (1896/1936), Cesare Mariani (1826/1901), Antonio Mancini (1852/1930), Fausto Pirandello (1899/1975) and other

Bronze Sculptures

“Portrait of Napoleon as First Consul” by Antonio Canova (1757/1822)

“Bust of a Woman” by Emilio Greco (1913/95)

“Self-Portrait” by Ettore Ximenes (1855/1926)

“Female Head (Portrait of Lalla)” by Ercole Drei (1886/1973)

“Portrait of Francesco Podesti” by Michele Tripisciano (1860/1913)

In addition bronzes by Venanzo Crocetti (1913/2003), Filippo Cifariello (1864/1936), Francesco Nagni (1897/1977) and others

Terra Cotta Pieces

Relief “Leo XI Medici (1605) received the abjuration of Henry IV” model for the monument in the Basilica of St. Pietro by Alessandro Algardi (1598/1654)

“The Arts pay homage to Clement XI Albani (1700/21)” 1702 by Pierre Legros (1666/1719)

Group “Achilles and Penthesilea” 1773 by Vincenzo Pacetti (1746/1820)

“Perseus freeing Andromeda” 1786 by the Frenchman Joseph Chinard (1756/1813)

THERE ARE ALSO TERRA COTTA WORKS BY:

Pietro Bracci (1700/73), Filippo Della Valle (1698/1768), Antonio Della Bitta (1807/about 1879), Ettore Ferrari (1845/1929), Carlo Fontana (1865/1956), G.B. Maini (1690/1752), Giuseppe Mazzuoli (1644/1725) and Ercole Rosa (1846/93)

BARBERINI PALACE - NATIONAL ART GALLERY (nineteenth part)

Room XXIV - Painters from the Emilia Region

“Triptych” with, on the front, “Pietà with Sts. Ermenegildo and Cecilia” and, on the back, “Michael the Archangel and Guardian Angel” about 1604 for Cardinal Odoardo Farnese, and, perhaps, “Portrait of a Young Man” about 1592 by Annibale Carracci (1560/1609)

“In contact with the work of Raphael and ancient art, Carracci developed the great compositions with classic simplicity and inventive freedom, pursuing a harmonious blend of the natural empirical world and classical tradition. (...) It was too firmly emphasized the contrast between the eclectic classicism of Annibale and rigorous anticlassicism of Caravaggio: in reality both are flatly opposed to the Mannerist style, the first proposing to restore the sixteenth century classicism, the second aiming at a total renewal of the contents and forms of art. Huge was his influence in Italy and outside” (Enciclopedia Treccani)

“Cupid Asleep” about 162 and “Magdalene” about 1632 by Guido Reni (1575/1642) to whom is tentatively attributed also the portrait of “Beatrice Cenci”

The Cupid Asleep was painted by Guido Reni on a wall of the palace in the presence of Cardinal Francesco Barberini, to show his skills

“Guido helped to create to a very considerable extent that second form of classicism that, once exhausted the direct impulse of Raphael, was looking for a new 'perfect form', the Ideal in which incarnate” (Maria Antonietta De Angelis)

“Beatrice Cenci, daughter of the rich and powerful Francesco Cenci, violent and dissolute man, suffered the tortures of the father and was confined, along with her stepmother, in the fortress of Petrella Salto, near Rieti. Exasperated by constant ill-treatment and in accordance with the stepmother and two brothers, also victims of their bullying father, she meditated her father's murder which took place in 1598. Found out, after a trial followed by the entire citizenry, she was sentenced to death by order of Clement VIII Aldobrandini (1592/1605), who perhaps longed to seize the assets confiscated from the family. Beatrice was decapitated on the square of Ponte Sant'Angelo in September 1599 in the presence of a huge crowd of Romans and she immediately became a symbol of oppressed innocence” (Rossella Vodret)

“Mary Magdalene” about 1625 and “Allegory of Peace” maybe by Simon Vouet (1590/1649)

“The interpretation that he develops from his famous models met during his Italian stay (Caravaggio and the great masters from Emilia) had the consent of Louis XIII, of whom he became the official painter. At the head of a large group of artists, Vouet executed many decorative projects in the residences of the French nobility, with great success between the third and fourth decade of 1600” (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

“St. Ursula with the Virgin Martyrs” about 1623 and “Venus plays the harp (Music)” about 1632 by Giovanni Lanfranco (1582/1647)

He was a pupil of Agostino and Annibale Carracci and affirmed his genius in Rome with a spectacular and daring painting style

Among the Emilia painters he was the most at odds with the current classical painting and championed freedom, becoming the most representative painter of the Roman Baroque

“Penitent Mary Magdalene” by Guido Cagnacci (1601/63) pupil of Guido Reni, but influenced by Caravaggio

Among the many Mary Magdalene in this museum this is undoubtedly the most blatantly erotic

“Painting and Sculpture”, “St. Jerome sealing a letter” 1617, “Saul against David” and “Flagellation” about 1658 by Giovanni Francesco Barbieri aka Guercino (1591/1666)

“The stor of the evolution of Guercino's style (...) is somewhat troubled. The works of the early period (1615/20) are carried out with a bold, dramatic pictorially ('prima maniera gagliarda', early assertive style, it was later described by the artist himself in a letter) and place him in the forefront among those artists who in the second and third decades of the century were exploring possibilities and defining the character of the style now known as 'baroque'. On the other hand the experiences of his stay in Rome - especially the classical influence of Domenichino and Guido Reni and his friendship with the influential art theorist monsignore Agucchi, secretary of Gregory XV - prompted in Guercino's style a definite deviation in the classical direction. The vigorous dynamism of forms in space of his 'first manner' left room to a more planimetric organization. The constant and independent movement of light on the forms is converted into a gradation of warmer light that defines them” (Dwight C. Miller - Dizionario Biografico degli Italiani Treccani)

“Self Portrait” about 1615 by Orazio Borgianni (1578/1616)

“St. John the Baptist points to Christ” and “Portrait of a Woman” by Pier Francesco Mola (1612/66)

“Portrait of a Woman” by Ludovico Carracci (1555/1619)