Baroque and Rococo
 


     

Baroque and Rococo Art Map




Valerio Castello
 
Domenico Piola
 
Pietro Liberi
    
Giovan Battista Langetti



see collection:


Pierre Puget


Bernardo Strozzi


Domenico Fetti


German Johann Liss


 



 


PAINTING IN GENOA



In the 17th century, Genoa was one of the main economic and cultural ports of Europe and welcomed artists such as the Flemish painters Rubens (1577-1640)and van Dyck (1599-1641); the painter and sculptor Pierre Puget (1620-94) from Marseilles; and Cornells (1592-1667), Lucas de Wael, and many others from Flanders and the Netherlands. Homegrown artists included Luca Cambiaso (1527-85), who ran a successful workshop in the city. In the wake of important 16th-century artists were portraitist Bernardo Castello (1557-1629), his son the decorative painter Valerio Castello (1624-59) who, with Domenico Piola (l627-1703) and the latter's sons and assistants, left behind a huge body of decorative work in the ecclesiastical buildings and palaces of Baroque Genoa. The fresco painters Giovanni Andrea de Ferrari (c.1598-1669) and, notably, Gregorio de Ferrari moved towards a more pronounced High Baroque interpretation of colour and composition. In the work of Bernardo Strozzi (1581-1644), the realistic-tradition taken from Caravaggio was melded with the brilliant late Baroque style.
 

 

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Valerio Castello
Holy Family with an Angel

 

Valerio Castello

(b Genoa, 22 Dec 1624; d Genoa, 17 Feb 1659).

Painter and draughtsman, son of Bernardo Castello. He was one of the leading Ligurian painters of the 17th century, whose art developed from a continuous and passionate study of a wide range of sources. His paintings of mythological and religious subjects unite an elegant figure style with an interest in dramatic and violent compositions; his touch is spontaneous and his palette vibrant with reds and pinks, blues and yellows. His brilliant decorative frescoes introduced the splendour of the High Baroque to Genoese painters. He was well known for his rapid oil sketches, with light and lively brushwork, which anticipate aspects of the Rococo. Few of his paintings are dated or datable, and his stylistic development remains highly controversial.

 


Valerio Castello
The Virgin of the Compote-dish

1650s

 

 


Valerio Castello
The Miracle of the Roses

Oil on canvas, 47,5 x 37,5 cm
The Hermitage, St. Petersburg
                 


Valerio Castello
Moses Striking the Rock

Oil on canvas
Musee du Louvre, Paris





 


Valerio Castello
Rebecca at the Well

Oil on canvas, 80 x 55,5 cm
The Hermitage, St. Petersburg
 


Valerio Castello
The Massacre of the Innocents

   


Valerio Castello
L'Enlevement des Sabines

 

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Domenico Piola

(b Genoa, 1627; d Genoa, 8 April 1703). Painter, draughtsman, printmaker and designer. He was the leading artist in Genoa in the second half of the 17th century, providing ceiling frescoes for many Genoese churches and palaces and producing paintings for private collectors. He was also a prolific draughtsman, whose many designs for thesis pages and book illustrations promoted his work throughout Europe. The enormous and multifarious productivity of his studio, his numerous collaborations with other artists and the fact that most of his most ambitious projects have been destroyed have discouraged any systematic study of his work.

     


Domenico Piola
Vanity


Domenico Piola
Magdalene in the Desert
1674
Oil on canvas, 300 x 198 cm
Oratorio di Santa Maria Maddalena, Laigueglia

   


Domenico Piola
Immaculate Conception
1683
Oil on canvas, 345 x 221 cm
Church of Santissima Annunziata del Vastato, Genoa


Domenico Piola
Daedalus and Icarus

1670s
Oil on canvas, 136 x 111 cm
Private collection, Genoa

 

 

 


Domenico Piola
Assumption of the Virgin
1676
Oil on canvas, 294 x 194 cm
Church of St John the Baptist, Chiavari (Genoa)

           

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see collection:
 

Pierre Puget

Bernardo Strozzi

Domenico Fetti

German Johann Liss

 

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A VENETIAN REVIVAL
 


A renewel in Venetian painting was signalled by the arrival of Domenico Fetti (1589-1623) from Rome, the German Johann Liss (c.1595-1631), and the Genoese Bernardo Strozzi. They had all assimilated the lessons of Caravaggio, Rubens, and the Carracci. In the later 17th century, the dark "tenebrist" style, which involved an emphatic use of chiaroscuro for dramatic effect, gradually gave way to a brighter, more sumptuous style of painting, particularly in the work of Pietro Liberi (1605-87). The arrival of Luca Giordano from Naples and Giovan Battista Langetti (1635-76) from Genoa presaged the more atmospheric work of Tiepolo and his contemporaries.
      

 


Pietro Liberi
Europa Crowned by Genius
1640

Pietro Liberi

(b Padua, 1605; d Venice, 8 Oct 1687).

Italian painter. He moved to Venice at an early age and studied with Alessandro Varotari (il Padovanino). Travels from 1628 to 1638 took him to Constantinople, Tunis and several European countries. In Rome from 1638 to 1640, he copied the frescoes of Michelangelo and Raphael, studied the works of the Carracci, Pietro da Cortona and Guido Reni, and also came under the prevailing influence of Gianlorenzo Bernini. His earliest known work, the Rape of the Sabines (1641; Siena, Pin. N.), richly reflects this experience of Rome. On his return journey to Venice (c. 1643) he stopped in Bologna and may have seen works by Emilian artists, from Correggio to Reni, in Parma.

 

   

 


Pietro Liberi
Allegoria della temperanza

   


Pietro Liberi
Dame bei der Toilette


Pietro Liberi
Giove circondato da deita femminili

 

        


Pietro Liberi
Die Muse Urania


Pietro Liberi
Diana und Callisto

 

 

Pietro Liberi
Anticni prizor

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Giovanni Battista Langetti
The Vision of St. Jerome
c. 1660
 

 

 

Giovanni Battista Langetti

(b Genoa, 1635; d Venice, 22 Oct 1676).

Italian painter. His work suggests that Gioacchino Assereto was his principal teacher in Genoa. He must have travelled to Rome at a very early age, and there he studied under Pietro da Cortona (Soprani and Ratti). Very little of Cortona’s style can be detected in Langetti’s extant work, however; its extreme realism and strong contrasts of light and shade are closer to the art of Ribera and his school. It seems likely that Langetti travelled from Rome to Naples, possibly in the middle of the 1650s, to study the art of Ribera, Francesco Fracanzano and Giordano. Giordano may have advised him to go to Venice, where he had himself worked some years previously, and Langetti may have chosen to go in 1656 to avoid the plague that had broken out in Naples. For a brief period he studied in Venice with Giovanni Francesco Cassana (1611–90), a second-rate Genoese artist who painted in a naturalistic style reminiscent of Assereto. He then embarked on a highly successful Venetian career; already in 1660 Marco Boschini was writing of him in glowing terms. In a career of 20 years or so he clearly produced a considerable number of paintings: his catalogue of works numbers over 120 and new paintings are still being discovered. Only four of his works can be dated, on documentary evidence: an Apollo and Marsyas (before 1660), which was described by Boschini in 1660, a Crucifixion with Mary Magdalene (1663–4; Venice, S Teresa) and the companion pieces, St Peter and St Paul (1675; Padua, S Daniele). The Apollo and Marsyas, though not a copy of Ribera’s composition on the same subject (1637; Naples, Capodimonte), is deeply indebted to it. A canvas by Langetti in the Vatican, the Martyrdom of the Maccabees, is similarly indebted to Ribera in the rendering of the figures though with a relatively open composition more reminiscent of Cortona, and can possibly be dated even earlier.

 


Giovanni Battista Langetti
Cato
1670

 

 


Giovanni Battista Langetti
Samson
1660

 


Giovanni Battista Langetti
Death of Cato

 

 

 

Giovanni Battista Langetti
Diogene ed Alessandro

 

 

see collection:


Pierre Puget

Bernardo Strozzi

Domenico Fetti

German Johann Liss


               

 

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