Italian Baroque Era Painter, ca.1571-1610
Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.
Canvas,145 1/4 x 96 1/2''(369 x 245 cm).Commissioned for the Church of Santa Maria dela Scala at Trastevere in Rome But rejected on grounds of indecency.collections of Duke of Mantua,Charles I,and Louis XIV(acquired from Eberhard Jabach in 1671)
Canvas,145 1/4 x 96 1/2''(369 x 245 cm).Commissioned for the Church of Santa Maria dela Scala at Trastevere in Rome But rejected on grounds of indecency.collections of Duke of Mantua,Charles I,and Louis XIV(acquired from Eberhard Jabach in 1671)
Height Width
INS/CM Quality
X
The Fortune Teller (mk05)
The Fortune Teller (mk05)
Painting ID:: 20352
Canvas,39 x 51 1/2''(99 x 131 cm).Given to Louis XIV by Don Camillo Pamphili in 1665
Canvas,39 x 51 1/2''(99 x 131 cm).Given to Louis XIV by Don Camillo Pamphili in 1665
Height Width
INS/CM Quality
X
Alof de Wignacourt and His Page (mk05)
Alof de Wignacourt and His Page (mk05)
Painting ID:: 20355
1608(painted at Malta)
canvas,76 1/2 x 53''(194 x 134 cm).Acquired by Louis XIV in 1670
1608(painted at Malta)
canvas,76 1/2 x 53''(194 x 134 cm).Acquired by Louis XIV in 1670
Italian Baroque Era Painter, ca.1571-1610
Italian painter. After an early career as a painter of portraits, still-life and genre scenes he became the most persuasive religious painter of his time. His bold, naturalistic style, which emphasized the common humanity of the apostles and martyrs, flattered the aspirations of the Counter-Reformation Church, while his vivid chiaroscuro enhanced both three-dimensionality and drama, as well as evoking the mystery of the faith. He followed a militantly realist agenda, rejecting both Mannerism and the classicizing naturalism of his main rival, Annibale Carracci. In the first 30 years of the 17th century his naturalistic ambitions and revolutionary artistic procedures attracted a large following from all over Europe.