Old Master & British Drawings
Giulio Romano, an Italian prodigy in painting and architecture, is celebrated for his dynamic contributions to the Renaissance and Mannerist styles. A pivotal figure in the late Renaissance, Giulio Romano was not only Raphael's principal pupil but also a trusted assistant, inheriting his master's workshop upon his death in 1520.
Giulio Romano's artistic journey began under Raphael's tutelage, where he honed his skills in both painting and architecture. His work vividly reflects the essence of the High Renaissance yet also signals the advent of Mannerism, a style characterized by elongated forms and exaggerated emotions. Notably, Romano's architectural prowess was largely self-taught, developed while assisting Raphael, who was the papal architect during that time.
The Palazzo del Te in Mantua stands as a testament to Giulio Romano's architectural genius. This pleasure palace, begun around 1524 and completed a decade later, showcases his inventive spirit and skill. It's a striking example of how Romano played with classical conventions to create something uniquely expressive. His ability to transform spaces was not just limited to grand structures but also extended to designing gardens and facades, enhancing their aesthetics and functionality.
In painting, Giulio Romano's works such as the Stoning of St. Stephen in Santo Stefano, Genoa, and the Adoration of the Magi in the Louvre, demonstrate his mastery and influence. His fresco "Fire in the Borgo" in the Raphael Rooms of the Vatican City is particularly noteworthy. Romano's drawings and designs, revered for their technical skill and creativity, significantly influenced subsequent artists, including Nicolas Poussin.
For art collectors and experts, the works of Giulio Romano present a fascinating blend of Renaissance classicism and the burgeoning Mannerist style. His contributions in both painting and architecture have left an indelible mark on the history of art and culture.
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Giovanni Battista Castello was an Italian historical painter. His best-known works are the paintings on the vault of the Basilica della Santissima Annunziata del Vastato. He was an architect and sculptor as well as painter. He painted of the Martyrdom of St. Sebastian in the monastery of San Sebastiano. He worked on various projects with his friend Cambiaso, including in a chapel for the Duomo di San Lorenzo.
Agostino Carracci, an Italian painter and printmaker born in 1557 in Bologna, is celebrated not just for his own art but also for his significant contributions alongside his brother Annibale and cousin Ludovico to the revitalization of Italian painting at the end of the sixteenth century. While Agostino's paintings are noteworthy, he is particularly distinguished as one of the premier printmakers of his era, producing high-quality reproductive engravings of works by renowned artists like Veronese and Tintoretto, as well as his original creations.
His collaborative work with Annibale on the frescoes for the gallery of the Palazzo Farnese in Rome is one of the notable highlights of his career, demonstrating the Carracci family's impact on the direction of Italian art towards a more realistic and classical style, countering the prevalent Mannerist tendencies of their time. His untimely death in 1602 in Parma curtailed a career that, through his engravings and teachings at the informal academy founded in Bologna with his relatives, influenced a broad swath of the art world, including future generations.
For art collectors and experts, Agostino Carracci's works offer a glimpse into a pivotal moment in art history, where a shift towards classical realism was being forged. His engravings and paintings remain a testament to his skill and a vital part of the narrative of Italian art's evolution.
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Bartolomeo Passerotti was an Italian painter of the mannerist period, who worked mainly in his native Bologna.
He influenced many Bolognese who would later play a role in the rise of the Baroque. Annibale Carracci (whose brother Agostino studied with Passerotti) was influenced by Passerotti's genre scenes in a select set of paintings (such as The Beaneater and The Butcher's Shop, the latter being originally attributed to Passerotti). Lucio Massari and Francesco Brizzi were among his pupils. Three of Passerotti's sons, including Ventura (1566–1618), Aurelio (1560–1609) and Tiburzio, were painters.
Pietro da Cortona, born as Pietro Berrettini, was an eminent figure in the Italian Baroque movement. His multi-faceted genius encompassed painting, architecture, and design, earning him a reputation second only to Bernini in the Roman Baroque style. Cortona's journey in art commenced in Rome around 1612, where his talents flourished under the patronage of influential families like the Barberini.
Pietro da Cortona's masterful frescoes in the church of S. Bibiana, commissioned by Urban VIII, set the tone for his illustrious career. His most iconic work, the colossal fresco "Allegory of Divine Providence and Barberini Power" in the Gran Salone of the Palazzo Barberini, epitomizes his skill in creating grandiose, illusionistic art. This piece, commenced in 1633 and completed in 1639, is a testament to his belief in the epic scale of history painting, a view he defended in a notable debate with Andrea Sacchi.
In 1637, Pietro da Cortona's artistic journey took him to Florence at the behest of Ferdinand II de' Medici, Grand Duke of Tuscany. Here, in the Palazzo Pitti, he created frescoes for the Planetary Rooms, combining allegorical themes with lush stucco work, significantly influencing the Italian and French decorative arts.
Pietro da Cortona's contributions to architecture were equally significant. His architectural masterpiece, the church of SS. Martina e Luca in Rome, exemplifies his ability to create grand structures with a unified Baroque vision. His architectural prowess, though less correlated with his painting style, made a lasting impact through its emphasis on form rather than ornament.
For art collectors and enthusiasts, Pietro da Cortona's works offer a rich tapestry of Baroque artistry, blending grandeur, realism, and allegory. His frescoes, paintings, and architectural designs continue to captivate audiences, symbolizing the opulence and dynamism of the Baroque era.
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