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