Room
of Landscapes
“Ricci is
the typical extrovert virtuoso of the eighteenth century and as such his
splendor could look a bit superficial. Roberto Longhi spoke of his paintings
that have the flavor of a skilled reportage of all the Europeans themes. But it
took the easy and versatile talent of Ricci to bring Venetian art back to a new
understanding of the great past and towards the synthesis accomplished by the
heroic style of Tiepolo” (Rudolf Wittkower)
“Landscapes” by Gaspard Dughet
(1615/75), Crescenzio Onofri (1632/1712) and Jacob de
Heusch (1657/1701)
“Antigone
near the bodies of Eteocles and Polynices” maybe by Paul
Brill (1554/1626)
“The deer
hunting” and “Battlefield” by Jacques Courtois aka
Borgognone (1628/79)
Room
of the Apotheosis of Martin V
“Among the
students of Maratta only the distinguished Benedetto Luti from Florence,
character of international renown, also known as a collector and teacher,
completed the transformation of Maratta's style in an eighteenth-century style
elegant and sweet” (Rudolf Wittkower)
In the ceiling
near the walls: “Merit crowned by Virtue” by Pietro
Bianchi aka il Creatura (1694/1740) Roman student of Luti and Baciccio
“In the work
of Batoni, in his thematic ideas, he reconstructed his love for the operatic
melodrama of which he had to be an assiduous listener (...), and as a painter
of mythological themes he had a preference for scenes that would lend
themselves more to express a pathetic aspect (...). As in opera, where they
often are not overly moved if not in words, so in Batoni’s painting, the
characters express themselves psychologically in a gesture, in a tear, but the
painting remains serene and full of life because of its colors: it becomes a
show, a wise and skillful game content in the oblivion of all evil or simply of
all the unpleasant” (Isa Belli Barsali – Dizionario Biografico degli Italiani
Treccani)
“Under the
influence of Michelangelo, Bronzino also carried out a total change of style,
which manifested itself most clearly in the extraordinarily exalted
corporeality of the naked figures, in the strong emphasis on the muscles
modeled as if they were sculpture. To this he added a chromatic style, cold and
hard, which increased even more the plastic impression” (Hermann Voss)
“Being able
to work simultaneously on two levels, Agostino and Annibale Carracci reveal a
dichotomy that from then on became more and more marked in the work of great
artists and culminated in the dual activities or double aspirations of Hogarth
or Goya. It is not surprising that this mentality would define the Carraccis as
the ancestors of the modern caricature” (Rudolf Wittkower)
The color
combinations are intoxicating and bring out the irresistible sensuality of the
icy and curvy legs in Europe, constituting, with her breasts exposed, the
element in the painting that glows more than any other with bright light
Two “Portraits
of men” by Domenico Robusti aka Tintoretto
(1560/1635)
“Madonna
with Child, Two Angels and St. John” maybe by Andrea d'Agnolo aka Andrea del Sarto (1486/1531)
“Ecce homo”
by Francesco da Ponte aka Bassano the Younger (1549/92)
“St. Jerome Penitent” by Giovanni di Pietro aka Spagna (about 1450/1528) a pupil of Perugino to whom
he owed a lot for his style
The
Cardinal was the one who wanted to begin the art collection of the family
“Virgin
Mary gives the scapular to St. Simon Stock” by Ippolito
Scarsella aka Scarsellino (1551/1620)
