Showing posts with label Painting. Show all posts
Showing posts with label Painting. Show all posts

20 May 2023

Giovanni Paolo Cavagna – artist

Prolific painter left a rich legacy of religious canvases

Frescoes by Cavagna illuminate the dome of the Basilica of Santa Maria Maggiore in Bergamo
Frescoes by Cavagna illuminate the dome of the
Basilica of Santa Maria Maggiore in Bergamo
Late Renaissance painter Giovanni Paolo Cavagna, who became famous for his religious scenes, died on this day in 1627 in his native city of Bergamo.

Cavagna was mainly active in Bergamo and Brescia, another historic city in the Lombardy region, for most of his career, although he is believed to have spent some time training in Venice in the studio of Titian.

The artist was born in Borgo di San Leonardo in Bergamo’s Città Bassa in about 1550. The painter Cristoforo Baschenis Il Vecchio is believed to have taken him as an apprentice from the age of 12. Cavagna is also thought to have spent time as a pupil of the famous Bergamo portrait painter Giovanni Battista Moroni.

Cavagna’s work can still be seen in many churches in Bergamo and villages in the surrounding area. In the Basilica of Santa Maria Maggiore in Bergamo’s Città Alta there are paintings by him of the Assumption of the Virgin, the Nativity, and Esther and Ahasuerus.

The church of Santo Spirito in Bergamo's Città Bassa
The church of Santo Spirito
in Bergamo's Città Bassa
In the Church of Santo Spirito in Bergamo’s Città Bassa, there are his paintings of Santa Lucia and the Crucifixion with Saints. He painted a Coronation of the Virgin for the Church of San Giovanni Battista in the province of Casnigo, which is to the north east of Bergamo, and some of his paintings can also be seen in the sanctuary of the Madonna del Castello in Almenno San Salvatore, a province to the north west of Bergamo.

The artist also completed a painting of the Crucifixion for the Church of Santa Lucia in Venice.

Cavagna’s son, Francesco, who became known as Cavagnuola, and his daughter, Caterina, also became painters.

After his death in 1627, Cavagna was buried in the Church of Santa Maria Immacolata delle Grazie in the Città Bassa in Bergamo, but after the reorganization of the lower town in the 19th century, the church was rebuilt and Cavagna’s tomb had to be moved, and it is now uncertain what happened to it.

Piazza Pontida is in Bergamo's Borgo San Leonardo quarter in the Città Bassa
Piazza Pontida is in Bergamo's Borgo San
Leonardo quarter in the Città Bassa
Travel tip:

Borgo San Leonardo, where Cavagna was born and lived, is a historic part of Bergamo’s Città Bassa where the Church of San Leonardo fronts an attractive square, Piazza Pontida, which links the important thoroughfares of Via Sant’Alessandro and Via XX Settembre. Piazza Pontida is part of an area that was known for centuries as Cinque Vie (five roads), where traffic from Milan, Lecco, Treviglio and Crema would converge and goods arriving in Bergamo would be unloaded. Some of the porticos in the piazza date back to the 15th century, when the farmers and merchants of the time would shelter from the sun under them.

The Via Arena entrance to the Basilica di Santa Maria Maggiore
The Via Arena entrance to the
Basilica di Santa Maria Maggiore
Travel tip:

Some of Cavagna’s paintings can be seen in one of the most important and beautiful churches in Bergamo, the Basilica di Santa Maria Maggiore, which has entrances from both Piazza Duomo and Via Arena in the Città Alta. The basilica was built in the 12th century in the shape of a Greek cross but was modified in the 14th and 16th centuries. It has a large interior with a richly decorated cupola from the 16th century and some fine Flemish and Florentine tapestries and works of art. At the back of the church is an elaborate white marble monument designed by Vincenzo Vela, marking the tomb of opera composer Gaetano Donizetti, who was born in Bergamo and came back to die in the city.





Also on this day:

1470: The birth of poet Pietro Bembo

1537: The birth of anatomist Hieronymous Fabricius

1916: The birth of athlete Ondina Valla

1943: The birth of singer Al Bano

1967: The birth of film director Gabriele Muccino


Home


7 April 2023

Gino Severini - painter and mosaicist

Tuscan was leading figure in Futurist movement

Gino Severini, typically sporting a monacle, was an influential figure
Gino Severini, typically sporting a monacle, was
an influential figure in 20th century Italian art 
The painter and mosaicist Gino Severini, who was an important figure in the Italian Futurist movement in the early 20th century and is regarded as  one of the most progressive of all 20th century Italian artists, was born on this day in 1883 in the hilltop town of Cortona in Tuscany.

He divided his time largely between Rome and Paris, where he died in 1966. Although he was a signatory - along with Umberto Boccioni, Carlo Carrà, Luigi Russolo and Giacomo Balla - of Filippo Tommaso Marinetti’s Manifesto of Futurist Painters in 1910, his work was not altogether typical of the movement.  

Indeed, ultimately he rejected Futurism, moving on to Cubism, having become friends with Cubist painters Georges Braque and Pablo Picasso in Paris, before ultimately turning his interest to Neo-Classicism and the Return to Order movement that followed the First World War. 

He attracted criticism among his peers by his associations with the Fascist-supporting Novecento Italiano movement, whose work became closely linked with state propaganda. Severini was involved with Benito Mussolini's "Third Rome" project, supplying murals and mosaics for Fascist architectural structures inspired by imperial Rome. 

Working in mosaics became an increasing focus for Severini in his later years, particularly after he rediscovered his Catholic faith. His religious mosaics displayed such refined technique he was dubbed the “father of modern mosaics". 

Severini was also the author of many essays and several books on painting, including Du cubism au classicisme (From Cubism to Classicism) in 1921 and The Life of a Painter, a vivid account of his early career. 

Severini's Le Boulevard (1913), his Futurist  interpretation of Parisian street life
Severini's Le Boulevard (1913), his Futurist 
interpretation of Parisian street life
Born into a family of modest means in Cortona, where his father a junior court official and his mother a dressmaker, Severini studied at the Scuola Tecnica in Cortona until the age of 15, at which point his formal education ceased when he and other classmates were caught trying to steal exam papers. They were expelled and probably lucky to escape prison. 

In 1899, his mother took him to Rome, thinking his prospects would be better there. He gained employment as a shipping clerk. He painted in his spare time and, thanks to the patronage of a fellow Cortonese with whom he had become friends, was able to attend art classes at the Rome Fine Arts Institute, studying nudes. He was not a disciplined student, however, and found himself cut adrift when his frustrated patron cancelled his allowance. 

Left to fend for himself when his mother returned to Cortona, Severini was so poor he lived in a room that was essentially a store cupboard in a kitchen in Via Sardegna in Ostiense. In 1900 he met Umberto Boccioni and Giacomo Balla for the first time. Balla took him on as a student, introducing him to the technique of pointillism, a painting method where effects were created by dotting the canvas or other surface with contrasting colours according to the principles of optical science.  The technique would have a major influence on Severini's early work and on Futurist painting in general.

Severini (right) with Luigi Russolo, Carlo Carrà, Filippo
Tommaso Marinetti and Umberto Boccioni in Paris in 1912
He moved to Paris in 1906 with Balla’s encouragement. Declaring the French capital to be his spiritual home, he settled in Montmartre, befriending another Italian, Amedeo Modigliani, and getting to know most of the city’s upcoming artists, including the Cubists Jean Metzinger, Albert Gleizes, Juan Gris and Picasso.

It was through Severini that some of the leading Italian Futurists visited Paris in 1911, absorbing some of Severini’s influence by adopting some of the humanist features of Cubism, namely the human figure in motion, as further means of expressing pictorial dynamism.  

Severini’s own Futurist work had been based on human figures, nightclub dancers or simply people in the street, rather than the cars or machines that had been central to the attempts of many of his fellow Futurist artists to depict speed and dynamism in painting.  In his nightclub scenes, he would evoke the sensations of movement and sound through rhythmic forms and flickering colours. His Dynamic Hieroglyph of the Bal Tabarin (1912) and The Boulevard (1913) were examples of his best work in Paris. 

However, Severini did produce some of the finest Futurist war art, notably his Red Cross Train Passing a Village (1914), Italian Lancers at a Gallop (1915) and Armoured Train (1915). 

His work over the next few years could be categorised as an idiosyncratic form of Cubism with elements of pointillism and Futurism before he began to experiment with a Neoclassical figurative style in portraits such as Maternity (1916). 

Severini's Mosaic of San Marco in his hometown of Cortona
Severini's Mosaic of San Marco
in his hometown of Cortona
Severini had married in 1913, his bride Jeanne Paul Fort, the 16-year-old daughter of the French poet Paul Fort. The couple were desperately poor and when Severini succumbed to pleurisy soon after the wedding, they moved to live with his parents, by then living in Montepulciano, where Jeanne became pregnant. They moved back to Paris, where their daughter, Gina, was born. A second child, Tonio, died from pneumonia, which was a factor in reigniting Severini’s Catholicism, which he had earlier renounced.

Only between the wars did Severini begin to find financial stability, realised mainly through his commissions to create frescoes and mosaics. 

He produced mosaics for the Palazzo di Giustizia in Milan (1936), the Palazzo delle Poste in Alessandria (1936) and mosaics and frescoes at the University of Padua (1937).  He worked for the Mussolini regime at the Foro Italico, a multi-venue sports complex, and the Palazzo degli Uffici, the inaugural building of the EUR project. Severini’s association with the Fascists was roundly condemned within the international artistic community, although none of Severini’s work was overtly pro-Fascist. 

After the fall of Mussolini and the end of the Second World War, Severini received lucrative commissions to decorate the offices of the Italian airline companies KLM and Alitalia among other organisations. 

His Cubist-inspired Mosaic of San Marco (1961), which adorns the facade of the Church of San Marco in Cortona, is seen as a signature work. He died in Paris in 1966 at the age of 82 but was buried in Cortona.

Cortona's elevated position gives it commanding views over the surrounding countryside
Cortona's elevated position gives it commanding
views over the surrounding countryside
Travel tip:

Cortona, founded by the Etruscans, is one of the oldest cities in Tuscany. Its Etruscan Academy Museum displays a vast collection of bronze, ceramic and funerary items reflecting the town’s past. The museum also includes an archaeological park that includes city fortifications and stretches of Roman roads. Outside the museum, the houses in Via Janelli are some of the oldest houses still surviving in Italy. Powerful during the mediaeval period, Cortona was defeated by Naples in 1409 and then sold to Florence.  Characterised by its steep narrow streets, Cortona’s hilltop location - it has an elevation of 600 metres (2,000 ft) - offers sweeping views of the Valdichiana, including Lago Trasimeno, where Hannibal ambushed the Roman army in 217 BC during the Second Punic War.

The Piramide Cestia and Porta San Paolo are two highlights of the Ostiense neighbourhood
The Piramide Cestia and Porta San Paolo are
two highlights of the Ostiense neighbourhood
Travel tip:

Severini’s earliest home in Rome was in the Ostiense neighbourhood, which can be found to the south of the Trastevere district. Bordered by the working class areas of Garbatella and Testaccio, Ostiense itself has shed its own down-at-heel reputation to become an increasingly trendy part of the city, populated by young professionals and boasting a thriving nightlife. The home of the majestic Basilica San Paolo Fuori le Mura - the Basilica of St Paul Outside the Walls - with its gold-plated ceilings, of the Roman  Piramide Cestia and the 3rd century Porta San Paolo, the district was built around the Via Ostiense, the ancient road linking the city with the Roman harbour at Ostia. 


Also on this day:

1763: The birth of musician Domenico Dragonetti

1794: The birth of opera singer Giovanni Battista Rubini

1906: Vesuvius erupts, killing more than 200 people

1973: The birth of footballer Marco Delvecchio


Home


22 September 2022

Mario Berrino - painter

Artist who was also a popular entrepreneur 

Berrino captured many scenes from life on the coast of Liguria in and near his home in Alassio
Berrino captured many scenes from life on the
coast of Liguria in and near his home in Alassio
The painter and entrepreneur Mario Berrino was born on this day in 1920 in Alassio, the coastal town in Liguria where he spent almost all his life.

Berrino took up painting full time in his 50s and his simple yet atmospheric and evocative works became sought after by collectors, often selling for hundreds of euros at auction.

Alassio has a gallery dedicated entirely to his work, as does the jet set playground of Monte Carlo, about 100km (62 miles) along the riviera coastline to the west, not far from Italy’s border with France.

Before that, Berrino had lived a colourful life in and around his home town, his entrepreneurial spirit shining through in many projects that left a lasting impression on Alassio.

As a young man, he helped his father and brothers run a bar and restaurant in Alassio, the Caffè Roma, which earned fame in the years between the First and Second World Wars as a hang-out for writers, artists, and musicians, among them the American novelist Ernest Hemingway, who was a frequent visitor to Italy and became a close friend of Berrino.

It was when Hemingway was in Alassio in 1953 that Berrino hatched the idea of attaching brightly coloured tiles to the low wall of a public garden opposite the Caffè Roma bearing the signatures of artists who had visited the restaurant.

Il Muretto di Alassio, which Berrino created on a wall outside the Caffè Roma, still attracts visitors
Il Muretto di Alassio, which Berrino created on a
wall outside the Caffè Roma, still attracts visitors
He asked a ceramicist to create some tiles and he and Hemingway crossed the road between the Caffè Roma and the garden one evening, using cement to attach the first three - one bearing Hemingway’s own signature and a second with the signature of a guitarist Cosimo de Ceciglie. The third carried all four signatures of a singing group, Il Quartetto Cetra.

The wall became known as Il Muretto di Alassio and remains a tourist attraction today, with close to 1,000 tiles, the criteria for inclusion expanded to include personalities from cinema, television, fashion, entertainment and sport.

In the same year as the wall came into being, Berrino launched a beauty contest, Miss Muretto, which was held every year until 2013. The winners include several women who have gone on to achieve a degree of fame, including the TV presenters Simona Ventura, Maria Teresa Ruta, Elisa Isoardi and Melissa Satta.

Berrino launched himself with enthusiasm into several other entrepreneurial ideas, cashing in on Alassion’s reputation for invigorating sea air by selling l’Aria Pura di Alassio in 500 litre jars, for which he received orders from all over Europe.

Berrino on the occasion of a 90th birthday celebration in Alassio
Berrino on the occasion of a 90th
birthday celebration in Alassio
He also successfully organised the Sciaccagiara, in which Formula One racing drivers including world champion James Hunt and the popular Swiss-Italian Clay Regazzoni, raced each other on steamrollers.

He was a popular figure in Alassio, usually seen driving his red Fiat Ghia 500 Jolly, a specially adapted Fiat 500 with a removable canopy top and wicker seats that was favoured by celebrities and VIPs ranging from the Greek shipping magnate Aristotle Onassis to Italian Communist leader Enrico Berlinguer.

Berrino set aside a wall of the Caffè Roma, called La buca del Muretto, to allow artists to exhibit, which was his inspiration to take up painting himself. Using watercolour, tempera, encaustic and oil techniques, he had become an established painter in the 1960s and from 1976 onwards devoted himself to painting full time.

Two years earlier, he had survived the ordeal of being kidnapped by a gang who demanded 300 million lire be paid for his release. Berrino managed to escape from captivity to the safety of a Carabinieri station.

Berrino remains a personality held in deep affection by the town of Alassio, who staged a celebration of his life on the 100th anniversary of his birth in 2020, nine years after his death in Alassio in August 2011.

A painting by Berrino that captures the beauty of Alassio's location on the coast of Liguria
A painting by Berrino that captures the beauty
of Alassio's location on the coast of Liguria
Travel tip:

Alassio is an attractive town on the Riviera di Ponente, the stretch of coastline that stretches southwest of the Ligurian capital of Genoa to the town of Ventimiglia, close to the French border. Renowned for its sandy beaches and blue seas, Alassio is popular for bathing in the summer and as a health resort in the winter.  It is a tourist-friendly town not least for having a narrow, pedestrianised street known as Il Budello which runs the length of the town just a few steps away from the beach. The English composer Edward Elgar is said to have written an overture while staying in Alassio during the winter of 1903-04, having been drawn to the area by its reputation for mild winters.  Read more...

The Caffè Roma remains a thriving business in Alassio today
The Caffè Roma remains a thriving
business in Alassio today
Travel tip:

The Caffè Roma, in Via Dante Alighieri, remains a thriving part of the life of Alassio, a symbolic monument to the town and its history as one of the resorts most favoured by writers, artists and musicians. The Muretto di Alassio remains a draw for visitors, who often spend many minutes trying to decipher the signatures on the ceramic tiles. The restaurant and cafe itself is housed in an attractive building in the Italian variant of Art Nouveau known as Stile Liberty.



Also on this day:

1929: The birth of motorcycle world champion Carlo Ubbiali

1955: The birth of Mafia ‘pentito’ Leonardo Messina

1958: The birth of tenor Andrea Bocelli

1979: The birth of writer Roberto Saviano


Home


30 August 2022

Giovanni Domenico Tiepolo – painter and printmaker

Famous artist’s son developed his own style

Many of Tiepolo's works, such as this carnival scene in Venice, featured the comic character Pulcinella
Many of Tiepolo's works, such as this carnival scene
in Venice, featured the comic character Pulcinella
Giovanni Domenico Tiepolo, who became famous for his paintings of Venetian life and of the clown, Pulcinella, was born on this day in 1727 in Venice.

Also known as Giandomenico Tiepolo, he was one of the nine children born to the artist Giovanni Battista Tiepolo and his wife, Maria Guardi, the sister of painters Francesco and Giovanni Guardi.

Perhaps not surprisingly, Giandomenico inherited the talent to go into the same profession as his father and uncles and, by the age of 13, he had become the elder Tiepolo’s chief assistant. His younger brother, Lorenzo, also became a painter and worked as an assistant to his father.

By the age of 20, Giandomenico was already producing his own work for commissions. However, he continued to accompany his father when he received his major commissions in Italy, Germany and Spain.

He assisted his father with a grand stairwell fresco for a prince’s palace in Wurzburg in Bavaria in 1750 and with decorations for the Villa Valmarana ai Nani in Vicenza in 1757 and the Royal Palace of Madrid in 1770.

The elder Tiepolo died while in Madrid and after Giandomenico returned to live in Venice, his own style of painting began to develop. His portraits and scenes of life in Venice were realistic and characterised by movement and his use of colour. He drew inspiration for his paintings from the lives of both peasants and aristocrats.

One of the panels from the Via Crucis cycle, in the Oratory of the Crucifix at San Polo
One of the panels from the Via Crucis cycle,
in the Oratory of the Crucifix at San Polo
Giandomenico also received many commissions for drawings and reproduced his own and his father’s paintings as etchings.

He produced more than 100 separate sketches of Pulcinella, a physically deformed clown who was the standard character of commedia dell’arte in Venice and later became the Punch in Punch and Judy. The sketches were created as entertainment for children, but also poked fun at the pretensions and behaviour of the viewers of Pulcinella’s shows.

He accepted commissions for religious paintings also. Many can be seen in the Chiesa di San Polo in Venice, including the 14 panels of his Via Crucis cycle, which can be seen in the adjacent Oratory of the Crucifix.

Frescoes that Giandomenico painted for the Tiepolo family villa at Zianigo near Mirano were removed from the walls of the building at the beginning of the last century and nearly sold to a French buyer, but the export of the paintings was blocked by an Italian Government minister. They were subsequently acquired by the city of Venice and put on display at Ca’ Rezzonico on the Grand Canal, in a replica of their original arrangement at the villa.  

The paintings were executed between 1759 and 1797 solely for the entertainment of Giandomenico and his family. The ones featuring Pulcinella were the last to be painted and are perhaps the most famous of the cycle. Giandomenico was said to have been obsessed by the commedia dell’arte character during the last years of his life and is thought to have used him in his paintings as a vehicle to reflect his own irreverent and sarcastic spirit.

Giandomenico Tiepolo died in Venice in 1804, aged 76.

The Villa Valmarana ai Nani in Vincenza, where Tiepolo and his father painted frescoes
The Villa Valmarana ai Nani in Vincenza, where
Tiepolo and his father painted frescoes
Travel tip:  

Villa Valmarana ai Nani was built in 1669 near the gates of the city of Vicenza. The villa takes its name from the 17 stone sculptures of nani, dwarves, that once decorated the garden and have now been placed on the walls surrounding the villa. It is believed they were sculpted by Francesco Uliaco based on drawings by Giandomenico Tiepolo. The villa is famous for the frescoes by Giambattista and Giandomenico Tiepolo in the palazzina, owner’s residence, which were commissioned by Giustino Valmarana in 1757. The present day Valmarana family still live in the villa.




Frescoes by Giandomenico Tiepolo on display at Ca' Rezzonico, the palace on the Grand Canal
Frescoes by Giandomenico Tiepolo on display
at Ca' Rezzonico, the palace on the Grand Canal
Travel tip:

Ca’ Rezzonico on the Grand Canal in Venice, which now houses Giandomenico Tiepolo’s frescoes on its second floor, was built in the 16th century to a design by the architect Baldassare Longhena. Before the building was complete the architect died and the unfinished construction was later bought by Giambattista Rezzonico, who commissioned Giorgio Massari to complete it. In the 19th century it was purchased by Pen Browning, the painter son of the poet, Robert Browning. The poet died there during a visit in 1889. The frescoes removed from Giandomenico’s villa went on display in Ca ‘Rezzonico in 1936. The palace is also now home to the Museum of 18th Century Venice.


Also on this day:

1580: The death of Emanuele Filiberto, Duke of Savoy

1585: The death of Venetian composer Andrea Gabrieli

1860: The birth of New York crime fighter Joe Petrosino


Home

8 May 2020

Giovanni Battista Gaulli – artist

Baroque painter decorated leading Jesuit church in Rome


Baroque painter Giovanni Battista Gaulli, a self-portrait  painted in about 1667
Baroque painter Giovanni Battista Gaulli,
a self-portrait  painted in about 1667
Painter Giovanni Battista Gaulli, whose nickname was Baciccio, was born on this day in 1639 in Genoa.

He became a leading baroque painter whose work was influenced by the sculptor and architect Gian Lorenzo Bernini. He is most remembered for his beautiful frescoes in the Church of Gesù in Rome, which are considered a masterpiece of quadratura, or architectural illusionism.

Gaulli was born in Genoa and his parents died when he was just a teenager in an outbreak of plague in the city.

He was apprenticed with the painter Luciano Borzone but would also have been influenced by some of the foreign artists who were working in Genoa in the mid 17th century.

Peter Paul Rubens and Anthony van Dyck were in Genoa at the time but it is also said that Gaulli adopted the warm palette of Genoese artist Bernardo Strozzi.

Gaulli was introduced to Bernini, who recognised his talent and helped to promote him. In 1662 he was accepted into the Roman artists’ guild, the Accademia di San Luca.

The following year Gaulli received his first public commission, for an altarpiece in the Church of San Rocco in Rome.

Gaulli's masterpiece, the Triumph of the  Name of Jesus, in the Church of the Gesù
Gaulli's masterpiece, the Triumph of the
Name of Jesus,
in the Church of the Gesù
At the height of his popularity, Gaulli was also one of Rome’s most prestigious portrait painters.

But a visit to Parma in 1669, where he saw Correggio’s frescoed dome ceiling in the cathedral of Parma, had a profound influence on his style.

With the support of Bernini, the 22-year-old Gaulli was awarded the prestigious commission of decorating the interior of the large Jesuit church in Rome, the Church of the Gesù.

Gaulli decorated the entire dome, central vault, window recesses, and the ceilings of the transepts. He unveiled the main vault fresco on Christmas Eve 1679 and after this he continued the frescoing of the vaults of the tribune and other areas of the church. The work took him nearly 14 years.

Gaulli’s nave masterpiece, the Triumph of the Name of Jesus, is an allegory of the work of the Jesuits that envelops worshippers below into the whirlwind of devotion. It is one of the grandest baroque ceilings in Rome and the theatrical effect prompted art experts to label Gaulli as ‘a Bernini in paint’.

A series of ceilings like this were painted in the naves of other Roman churches until the beginning of the 18th century. But as the high baroque movement evolved into the rococo, the popularity of this style dwindled.

Gaulli also moved in the new direction, adopting less intense colours and more delicate compositions.

He had many pupils during his long career, who spoke of him as ‘generous, liberal of mind and charitable’.

Gaulli died in 1709 in Rome, at the age of 70.

The facade of the Palazzo Ducale (Doge's Palace) in Genoa. one of the maritime city's architectural highlights
The facade of the Palazzo Ducale (Doge's Palace) in Genoa.
one of the maritime city's architectural highlights
Travel tip:

Genoa, where Gaulli was born, is the capital city of Liguria and the sixth largest city in Italy. It has earned the nickname of La Superba because of its proud history as a major port. Part of the old town was inscribed on the World Heritage List in 2006 because of the wealth of beautiful 16th century palaces there.   Genoa has a rich history as a powerful trading centre with considerable wealth built on its shipyards and steelworks, but also boasts many fine buildings, many of which have been restored to their original splendour.  The Doge's Palace, the 16th century Royal Palace and the Romanesque-Renaissance style San Lorenzo Cathedral are just three examples. 

The baroque facade of the Church of the Gesù, which Michelangelo offered to design for free
The baroque facade of the Church of the Gesù,
which Michelangelo offered to design for free
Travel tip:

The Church of the Gesù, which was built between 1568 and 1584 was the first Jesuit church in Rome and its design has been much imitated throughout the Catholic world.  Located in the Piazza del Gesù, it has the first truly baroque façade, which introduced the style into architecture. Gaulli’s ceiling fresco is considered the most striking feature of the interior decoration.  Although Michelangelo offered, out of devotion, to design the church for free, the endeavor was funded by Cardinal Alessandro Farnese, grandson of Pope Paul III, and the main architects involved in the construction were Giacomo Barozzi da Vignola, architect of the Farnese family, and Giacomo della Porta.

Also on this day:

1587: The birth of Victor Amadeus I of Savoy

1898: Genoa become the first football champions of Italy

1960: The birth of AC Milan and Italy icon Franco Baresi


Home

23 February 2020

Corrado Cagli - painter

Jewish artist who fought in World War II as a US soldier


Corrado Cagli, pictured in his studio in Rome in around 1969
Corrado Cagli, pictured in his studio in Rome
in around 1969
The painter Corrado Cagli, one of the outstanding figures in the New Roman school that emerged in the early part of the 20th century, was born in Ancona on this day in 1910. 

He moved with his family to Rome in 1915 at the age of five and by the age of 17 had created his first significant work, a mural painted on a building in Via Sistina, the street that links Piazza Barberini with the Spanish Steps in the historic centre of the city.

The following year he painted another mural inside a palazzo on the Via del Vantaggio, not far from Piazza del Popolo.  In 1932, he held his first personal exhibition at Rome’s Galleria d’Arte Moderna.

At this stage, despite being both Jewish and gay, Cagli had the support of the Fascist government, who commissioned him and others to produce mosaics and murals for public buildings.

Although he would go on to experiment in neo-Cubist style and metaphysical styles, the aim of the Scuola Romana he sought to establish with fellow artists such as Giuseppe Capogrossi and Emanuele Cavalli was to reaffirm the principles of classical and Renaissance art.

However, in 1938, when the Fascist dictator Benito Mussolini stepped up his persecution of Jews and other minorities, Cagli sought refuge in Paris and later fled to New York.

A detail from Cagli's 1936 painting, The Battle of San Martino, the final battle of the Second Italian War of Independence
A detail from Cagli's 1936 painting, The Battle of San Martino,
the final battle of the Second Italian War of Independence
Not knowing when or if he might return to Italy, Cagli became an American  citizen, even enlisting in the US Army. He went back to Europe as a soldier, taking part in the 1944 Normandy landings and seeing frontline combat fought in Belgium and Germany.

In fact, in an episode in his tour of duty that would have a profound effect on his life, he was part of a battalion that liberated Jewish prisoners from the Buchenwald concentration camp, near Weimar, in 1945. While he was there, Cagli made a series of dramatic drawings.

In 1948, Cagli finally returned to Rome to take up permanent residence again. At that time, he began to experiment in various abstract and non-figurative techniques, including metaphysical and neo-Cubist.

The recipient in 1946 of a Guggenheim award, in 1954 he was recognised with a Marzotto award, made by the Marzotto fashion company in Valdagno, in the Veneto between 1951 and 1968 to artists and thinkers who contributed to the cultural rebirth of Italy after the war.

In later life, he was the official banner painter for the Palio di Siena, the twice-yearly horse race around Siena’s Piazza del Campo, for which he had a particular fascination.

Corrado’s younger sister, Ebe, was a writer who also moved to the United States to escape Mussolini’s race laws.  She married an academic, Abraham Seidenberg, and did not return to Italy.

Cagli died in Rome in 1976.

Ancona's Cathedral of San Ciriaco, which occupies an elevated position on the site of a former acropolis
Ancona's Cathedral of San Ciriaco, which occupies an
elevated position on the site of a former acropolis
Travel tip:

Ancona, where Cagli lived until he was five years old, is a bustling port with a population of almost 102,000, situated on the Adriatic coast in the Marche region. Although the area around the port has an industrial feel, there are some notable beaches nearby of which the Passetto is the best known.  There is a good deal of history in the older part of the city,  some of it bearing witness to its Greek and Roman past, as well as the Cathedral of San Ciriaco, which has mixed Romanesque-Byzantine and Gothic elements, and stands on a hill on the site of the former acropolis of the Greek city.  The 18m-high Arch of Trajan, built in honour of the emperor who built the city’s harbour, is regarded as one of the finest Roman monuments in the Marche region. The harbour contains the Lazzaretto, a pentagonal building constructed on an artificial island in the 18th century as a quarantine station designed to protect the city from diseases carried by infected travellers.

Find accommodation in Ancona with Booking.com

Siena's beautiful Piazza del Campo, where the Palio di Siena horse race is staged on tow dates every summer
Siena's beautiful Piazza del Campo, where the Palio di Siena
horse race is staged on tow dates every summer
Travel tip:

The shell-shaped Piazza del Campo, established in the 13th century as an open marketplace on a sloping site between the three communities that eventually merged to form Siena, is regarded as one of Europe's finest medieval squares, looked over by the Palazzo Pubblico and the Torre del Mangia.  The red brick paving, fanning out from the centre in nine sections, was put down in 1349.  The Palio, which features 10 horses, each representing one of Siena's 17 contrade, or wards, ridden bareback by riders wearing the colours of the contrada they represent, was first contested in 1656 and is now staged on July 2 and August 16 each year.


More reading:



18 July 2019

Giacomo Balla - painter

Work captured light, movement and speed


Giacomo Balla's work Le mani del violinista - The Hands of  the Violinist - stemmed from his fascination with movement
Giacomo Balla's work Le mani del violinista - The Hands of
 the Violinist - stemmed from his fascination with movement
The painter Giacomo Balla, who was a key proponent of Futurism and was much admired for his depictions of light, movement and speed in his most famous works, was born on this day in 1871 in Turin.

An art teacher who influenced a number of Italy’s most important 20th century painters, Balla became interested in the Futurist movement after becoming a follower of the poet Filippo Tommaso Marinetti, who is regarded as the ideological founder of Futurism.

Futurism was an avant-garde artistic, social and political movement. Its ethos was to embrace modernity and free Italy from what was perceived as a stifling obsession with the past.

Balla was one of the signatories of Il manifesto dei pittori futuristi - the Manifesto of Futurist Painters - in 1910.

Giacomo Balla was one of the signatories of the Manifesto of Futurist Painters
Giacomo Balla was one of the signatories
of the Manifesto of Futurist Painters 
He differed from some of the other artists who signed the Manifesto, painters such as Carlo Carrà and Umberto Boccioni, whose work tried to capture the power and energy of modern industrial machinery and the passion and violence of social change, in that his focus was primarily on exploring the dynamics of light and movement.

Giacomo Balla was the son of a seamstress and a waiter who was an amateur photographer. He lost his father at the age of nine, at which point he gave up an early interest in music and began working in a lithograph print shop. As he grew up, he decided to study painting and several of his early works were shown at exhibitions.

In 1895, after completing his academic studies at the University of Turin, Balla moved to Rome, where he married Elisa Marcucci and found work as an illustrator, caricaturist and portrait painter.  He also passed on his painting skills as a teacher.

After a period in Paris in 1900, where he spent seven months assisting the illustrator Serafino Macchiati, he became fascinated with French neo-impressionism and, on returning to Rome, he adopted the neo-impressionist style in his work.  Among his young students were Boccioni and Gino Severini, to whom he passed on his enthusiasm for contemporary French trends.

Balla's Dynamism of a Dog on a Leash  identified him as a Futurist painter
Balla's Dynamism of a Dog on a Leash
identified him as a Futurist painter
Influenced by Marinetti’s philosophy, Balla, Boccioni and Severini adopted the Futurism style. Balla was driven by the idea of creating a pictorial depiction of light, movement and speed.  Typical for his new style was his 1912 painting Dinamismo di un cane al guinzaglio - Dynamism of a Dog on a Leash - which is in the care of the Albright–Knox Art Gallery in Buffalo, New York.

Another notable work painted at around the same time is Le mani del violinista - The Hands of the Violinist - which depicts a musician's hand and the neck of a violin, blurred and duplicated to suggest the motion of frenetic playing.  The Hands of the Violinist is currently kept at the Estorick Collection of Modern Italian Art in Islington, north London.

If the theme of those two paintings was movement, Balla’s interest in breaking down the elements of light is exemplified in two other famous works.

Balla's extraordinary 1909 painting Street Light (Lampada ad arco)
Balla's extraordinary 1909 painting
Street Light (Lampada ad arco)
Street Light (Lampada ad arco), painted in 1909, which vividly depicts the glow of modern street lighting, can be seen in the Museum of Modern Art in New York City, while his 1914 work Mercury Passing Before the Sun (Mercurio transita davanti al sole), an almost kaleidoscopic representation of the planet and the sun seen through a telescope, is on long-term loan to the Peggy Guggenheim Collection in Venice.

In 1914, Balla branched out into designing Futurist furniture and even the so-called Futurist antineutral clothing. He also received some commissions as a sculptor.  His studio became a meeting place for young artists.

In 1935, he was made a member of Rome's Accademia di San Luca.  He died in Rome in March 1958, at the age of 86, and was buried at the Campo Verano cemetery.

The Basilica of San Lorenzo Fuori le Mura adjoins the Cemetary of Campo Verano
The Basilica of San Lorenzo Fuori le Mura adjoins the
Cemetary of Campo Verano
Travel tip:

The Cimitero Comunale Monumentale Campo Verano, where Balla is interred, is situated beside the Basilica of San Lorenzo Fuori le Mura, in the Tiburtino area of Rome. It is the city's largest cemetery, with some five million internments. The name 'Verano' is thought to date back to the Roman era, when the area was known as Campo dei Verani.

The Via Po in Turin, pictured here in 1930 is at
the heart of the city's café culture
Travel tip:

The city of Turin, once the capital of Italy and traditionally seat of the Savoy dynasty, is best known for its royal palaces but tends to be overlooked by visitors to Italy, especially new ones, who flock first to Rome, Florence, Venice and Milan. Yet as an elegant, stylish and sophisticated city, Turin has much to commend it, from its many historic cafés to 12 miles of arcaded streets and some of the finest restaurants in Piedmont. To enjoy Turin’s café culture, head for Via Po, Turin’s famous promenade linking Piazza Vittorio Veneto with Piazza Castello, or nearby Piazza San Carlo, one of the city’s main squares. In the 19th century, these cafès were popular with writers, artists, philosophers, musicians and politicians among others, who would meet to discuss the affairs of the day.

More reading:

Umberto Boccioni, the brilliant talent who died tragically young

How the funeral of an anarchist inspired Carlo Carrà

The 'noise music' of Futurist Luigi Russolo

Also on this day:

1610: The mysterious death of Caravaggio

1884: The birth of Alberto di Jorio, shrewd head of the Vatican Bank

1914: The birth of Gino Bartali, cycling champion and secret war hero


Home












3 June 2019

Pietro Paolini – artist

Follower of Caravaggio passed on his techniques to the next generation



Paolini's Achilles among the Daughters of  Lycomedes,  which is in the J. Paul Getty Museum in Los Angeles
Paolini's Achilles among the Daughters of  Lycomedes,
 which is in the J. Paul Getty Museum in Los Angeles
Pietro Paolini, a painter in the Baroque period in Italy, was born on this day in 1603 in Lucca in Tuscany.

Sometimes referred to as Il Lucchese, Paolini was a follower of the controversial Italian artist Caravaggio.

He also founded an academy in his native city and taught the next generation of painters in Lucca.

Paolini’s father, Tommaso, sent him to Rome when he was 16 to train in the workshop of Angelo Caroselli, who was a follower of Caravaggio.

Paolini had the opportunity to study various schools and techniques, which is reflected in the flexible style of his work.

Paolini's Bacchic Concert, which is in the collection of the Dallas Museum of Art
Paolini's Bacchic Concert, which is in the collection of
the Dallas Museum of Art
He was exposed to the second generation of painters in the Caravaggio tradition such as Bartolomeo Manfredi, Cecco del Caravaggio and Bartolomeo Cavarozzi.

The principal themes of Paolini’s work were the subjects popularised by Caravaggio around the turn of the 17th century involving lower class people such as hawkers, prostitutes and musicians. Some of his paintings have allegorical meanings, such as The Allegory of the Five Senses, which depicts a darkened inn with people engaged in playing music and drinking, each representing one of the five senses. The picture shows the realism and the strong chiaroscuro typical of Caravaggio.

Paolini spent two years living and working in Venice where he had the opportunity to study the works of Paolo Veronese and Tintoretto and he then returned to Lucca where he spent the rest of his life. His parents had died and he needed to support his siblings.

Paolini's The Allegory of the Five Senses, which is on display at the Walters Art Museum in Baltimore
Paolini's The Allegory of the Five Senses, which is
on display at the Walters Art Museum in Baltimore
After establishing a successful studio in Lucca he specialised in cabinet pictures and introduced the still life genre to the city. He received many commissions from religious institutions in Lucca as well as prominent local citizens.

In about 1652 he founded the Academy of Painting and Drawing of Lucca, where he helped train many young painters. Artists such as Girolamo Scaglia, Simone del Tintore, Antonio Franchi, Giovanni Coli and Filippo Gherardi were all trained there. At this stage he almost entirely gave up painting himself in order to devote himself to teaching.

Paolini died in Lucca in 1681.  He had two sons, Andrea, who became custodian of the Public Archives in Lucca, and Giovanni Tommaso.

Many of Paolini’s most famous works are on display in galleries around the world, including The Mystic Marriage of St Catherine of Alexandria, which can be seen in the Galleria Nazionale d'Arte Antica in Rome, Achilles among the Daughters of Lycomedes (J. Paul Getty Museum) and Bacchic Concert (Dallas Museum of Art).  The Allegory of the Five Senses is in the Walters Art Museum in Baltimore, Maryland.

Others, such as The Card Sharps, Portrait of a Man and A Young Lady Holding a Compass are in private collections.

A view over the rooftops of Paolini's home city of  Lucca in western Tuscany, not far from Pisa
A view over the rooftops of Paolini's home city of
Lucca in western Tuscany, not far from Pisa
Travel tip:

Lucca, Paolini’s home city, is situated 30km (19 miles) inland from Viareggio on the coast and 20km (12 miles) from Pisa, with its international airport, yet is often overlooked by travellers to the area. It has much to recommend within its majestic walls, where visitors can stroll along narrow cobbled streets into a number of beautiful squares, with lots of cafes and restaurants for those content to soak up the ambiance, but also a wealth of churches, museums and galleries for those seeking a fix of history and culture.   The Renaissance walls, still intact, are an attraction in their own right, providing a complete 4.2km (2.6 miles) circuit of the city popular with walkers and cyclists.

The facade of the Palazzo Barberini in Rome,  designed by the architect Carlo Maderno
The facade of the Palazzo Barberini in Rome,
designed by the architect Carlo Maderno
Travel tip:

The Galleria Nazionale d'Arte Antica (National Gallery of Ancient Art) is an art gallery in Rome. It has two sites: the Palazzo Barberini and the Palazzo Corsini.  The Palazzo Barberini was designed for Pope Urban VIII, a member of the Barberini family, by 16th century Italian architect Carlo Maderno on the old location of Villa Sforza, facing the Piazza Barberini in central Rome. Its central salon ceiling was decorated by Pietro da Cortona with the visual panegyric of the Allegory of Divine Providence and Barberini Power to glorify the papal Barberini family.  The Palazzo Corsini, formerly known as Palazzo Riario, is a 15th-century palace in the Trastevere district that was rebuilt in the 18th century by architect Ferdinando Fuga for Cardinal Neri Maria Corsini.

More reading:

Caravaggio sentenced to death after a murder in Rome

How did Caravaggio die?

Luca Giordano, the artist known as The Thunderbolt

Also on this day:

1678: The birth of architect Domenico Antonio Vaccaro

1751: The birth of the Blessed Vincent Romano

1977: The death of film maker Robert Rossellini


Home



17 January 2019

Antonio del Pollaiuolo – artist

Paintings of muscular men show knowledge of anatomy


The portrait of Antonio del Pollaiuolo that appeared in Giorgio Vasari's Lives of the Artists
The portrait of Antonio del Pollaiuolo that
appeared in Giorgio Vasari's Lives of the Artists
Renaissance painter, sculptor, engraver and goldsmith Antonio del Pollaiuolo was born on this day in 1433 in Florence.

He was also known as Antonio di Jacopo Pollaiuolo and sometimes as Antonio del Pollaiolo. The last name came from the trade of his father who sold poultry.

Antonio’s brother, Piero, was also an artist and they frequently worked together. Their work showed classical influences and an interest in human anatomy. It was reported that the brothers carried out dissections to improve their knowledge of the subject.

Antonio worked for a time in the Florence workshop of Bartoluccio di Michele where Lorenzo Ghiberti - creator of the bronze doors of the Florence Baptistery - also received his training.

Some of Antonio’s paintings show brutality, such as his depiction of Saint Sebastian, which he painted for the Church of Santissima Annunziata in Florence and presents muscular men in action. His paintings of women show more calmness and display his meticulous attention to fashion details.

Del Pollaiuolo's Hercules and the Hydra was an example of his painting of muscular men
Del Pollaiuolo's Hercules and the Hydra was
an example of his painting of muscular men
Antonio was also successful as a sculptor and a metal worker and although he produced only one engraving, The Battle of the Nude Men, it became one of the most famous prints of the Renaissance.

In 1484 he went to Rome where he was commissioned to build a tomb for Pope Sixtus IV. In 1494 he returned to Florence to put the finishing touches to a work he had already started in the sacristy of the Church of Santo Spirito.

When he died in Rome in 1498, he was a rich man, having just finished a mausoleum for Pope Innocent VIII.

Antonio del Pollaiuolo was buried in the Church of San Pietro in Vincoli.

The 14th century Palazzo Vecchio towers over the Piazza della Signoria in Florence
The 14th century Palazzo Vecchio towers
over the Piazza della Signoria in Florence
Travel tip:

Piazza della Signoria in the centre of Antonio del Pollaiuolo’s native Florence is an L-shaped square, important as the location of the 14th century Palazzo Vecchio, the focal point for government in the city. Citizens gathered here for public meetings and the religious leader Girolamo Savonarola was burned at the stake in the square in 1498. The piazza is a unique outdoor sculpture gallery filled with statues, some of them copies, commemorating major events in the city’s history. The Galleria dell’Accademia in Florence has become famous as the home of Michelangelo’s statue of David. It is the second most visited museum in Italy, after the Uffizi, the main art gallery in Florence. The Galleria dell’Accademia was established in 1784 in Via Ricasoli in Florence.

Inside the beautiful church of San Pietro  in Vincoli in Rome
Inside the beautiful church of San Pietro
 in Vincoli in Rome
Travel tip:

The Church of San Pietro in Vincoli - St Peter in Chains - where Antonio del Pollaiuolo was buried, is near the Colosseum in Rome. The Church is a shrine for the chains that are believed to have bound St Peter during his imprisonment. It is also the home of Michelangelo’s famous statue of Moses, which was completed in 1515.

More reading:

Lorenzo Ghiberti, the sculptor and goldsmith who created, in the words of Michelangelo, the 'gates of heaven' in Florence.

When Pope Sixtus IV commissioned Michelangelo to paint the Sistine Chapel ceiling

Simonetta Vespucci - Renaissance beauty

Also on this day:

1377: Pope Gregory XI returns the papacy to Rome

1472: The birth of Guidobaldo I, Duke of Urbino

1834: The birth of Antonio Moscheni, painter of chapel frescoes in India


Home