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Santa Maria Egiziaca A Forcella, Naples
Santa Maria Egiziaca a Forcella (or church of Santa Maria Egiziaca all'Olmo) is a Baroque-style, Roman Catholic church located in the quartiere di Forcella, in the city of Naples, Italy; History The church was founded in 1342 under the patronage of Queen Sancha of Aragon. The queen and her husband were very devout; and Sancha herself entered a monastery of the Poor Clares after her husband's death. The church and attached buildings served as a Madgalen asylum, meant to shelter ''donne di mondo convertite'' (prostitutes). The titular saint, Mary of Egypt, had history of repenting a life of lust and prostitution, and converting herself into a saintly hermit. The function of the convent as a ''home for fallen women'' was later pursued mostly by Santa Maria Maddalena, and this church became attached to a small nunnery for aristocratic women. The church underwent reconstructions in 1500 by Gabriele d'Agnolo, and in 1684 by Dionisio Lazzari. The latter reconstruction gave the church ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Naples
Naples (; it, Napoli ; nap, Napule ), from grc, Νεάπολις, Neápolis, lit=new city. is the regional capital of Campania and the third-largest city of Italy, after Rome and Milan, with a population of 909,048 within the city's administrative limits as of 2022. Its province-level municipality is the third-most populous metropolitan city in Italy with a population of 3,115,320 residents, and its metropolitan area stretches beyond the boundaries of the city wall for approximately 20 miles. Founded by Greeks in the first millennium BC, Naples is one of the oldest continuously inhabited urban areas in the world. In the eighth century BC, a colony known as Parthenope ( grc, Παρθενόπη) was established on the Pizzofalcone hill. In the sixth century BC, it was refounded as Neápolis. The city was an important part of Magna Graecia, played a major role in the merging of Greek and Roman society, and was a significant cultural centre under the Romans. Naples served a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paolo De Maio
Paolo de Maio or Paolo de Majo (15 January 1703 – 20 April 1784) was an Italian painter of the late-Baroque or Rococo period. Biography Paolo de Maio was born in Marcianise, province of Caserta, in the region of Campania. His brother Ludovico de Majo (born in Maricianise on 12 October 1695) was also a painter. Paolo de Maio was a pupil of Francesco Solimena in Naples. He was prolific in Naples, painting the cupola and around the windows for the church of Santa Maria Egiziaca a Forcella; a ''San Domenico'' (1742) for the church of Gesù e Maria at Corso Umberto; a ''San Niccolò'' (1772) for the church of Santa Maria delle Grazie a Caponapoli; the ''Four Evangelists'' for the church of Trinità in via Roma; as well as frescoes for the ceiling of the church of Monte Cassino. He painted a canvas depicting ''San Gennaro'' for a church in Mugnano del Cardinale, as well as ''Evangelists'' (1782) for the church of Verginiani in Casamarciano. He painted a number of canvases in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
17th-century Roman Catholic Church Buildings In Italy
The 17th century lasted from January 1, 1601 ( MDCI), to December 31, 1700 ( MDCC). It falls into the early modern period of Europe and in that continent (whose impact on the world was increasing) was characterized by the Baroque cultural movement, the latter part of the Spanish Golden Age, the Dutch Golden Age, the French ''Grand Siècle'' dominated by Louis XIV, the Scientific Revolution, the world's first public company and megacorporation known as the Dutch East India Company, and according to some historians, the General Crisis. From the mid-17th century, European politics were increasingly dominated by the Kingdom of France of Louis XIV, where royal power was solidified domestically in the civil war of the Fronde. The semi-feudal territorial French nobility was weakened and subjugated to the power of an absolute monarchy through the reinvention of the Palace of Versailles from a hunting lodge to a gilded prison, in which a greatly expanded royal court could be more easily k ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Architecture In Naples
The Baroque (, ; ) is a Style (visual arts), style of Baroque architecture, architecture, Baroque music, music, Baroque dance, dance, Baroque painting, painting, Baroque sculpture, sculpture, poetry, and other arts that flourished in Europe from the early 17th century until the 1750s. In the territories of the Spanish and Portuguese empires including the Iberian Peninsula it continued, together with new styles, until the first decade of the 19th century. It followed Renaissance art and Mannerism and preceded the Rococo (in the past often referred to as "late Baroque") and Neoclassicism, Neoclassical styles. It was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture, art, and music, though Lutheran art#Baroque period, Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, movement, exuberant detail, deep colour, grandeur, and surprise to achieve a sense of awe. The style began at the s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Churches In Naples
Christianity and religion in general has always been an important part of the social and cultural life of Naples. It is the seat of the Archdiocese of Naples, and the Catholic faith is highly important to the people of Naples and there are hundreds of historic churches in the city (about five hundred, 1000 in total). The Cathedral of Naples is the most important place of worship in the city, each year on September 19 it hosts the ''Miracle of Saint Januarius'', the city's patron saint. In the miracle which thousands of Neapolitans flock to witness, the dried blood of Januarius is said to turn to liquid when brought close to relics said to be of his body: this is one of the most important traditions for Neapolitans. Churches and their styles The cathedral of San Gennaro (Saint Januarius), was built under the patronage of Charles of Anjou in 1272, on the site of the ancient Stefania cathedral of the 8th century, and completed in 1341, the work of Nicolò Pisano, Maglione, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santa Maria Egiziaca A Pizzofalcone
Santa Maria Egiziaca a Pizzofalcone is a Baroque-style, Roman Catholic, Basilica church on the street of the titular name in the hill of Pizzofalcone, in the historic center of Naples, region of Campania, Italy. The church layout was initially designed by Cosimo Fanzago. History A small church was located at the site in 1616, but in 1639, a group of five Augustinian monks from the convent associated with the church of Santa Maria Egiziaca a Forcella founded a convent in a palace next to the small church. In 1648, they first hired Cosimo Fanzago to design the church. In 1665, the role fell to Francesco Antonio Picchiatti, and in 1691 to 1716 to Antonio Galluccio.Donatella Mazzoleni, ''Tra Castel dell'Ovo e Sant'Elmo'' il percorso delle origini, Electa, Napoli, 1995, pag. 104. The latter architects modified Fanzago's designs significantly. Architecture The entrance contains a scenic staircase, designed, as well as the dome, by Guglielmelli. It leads to a striking convex facade. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giacomo Farelli
Giacomo Farelli (1629 in Naples – 26 June 1706) was an Italian painter active in Naples. Biography He trained under Andrea Vaccaro, whose style he at first followed, but he afterwards imitated with more success that of Guido Reni and Luca Giordano. He painted a ''The Fall of the Angels,'' and ''The Ascension'' for the church of Santa Maria Maggiore of Naples. He also painted for the church of Santi Apostoli and the church of the Redenzione dei Cattivi. He also painted for Pietà dei Turchini, Gesù Nuovo, Santi Apostoli and for the Congregation of Sette Dolori in Naples. He returned to Abruzzo, and painted a large fresco in the Palazzo Ducale of ''Jove fights the Giants'' and ''Life of Hercules''. He also painted medallions with portraits of the Ducal family for the Acquaviva family. He also painted for Giovanni Girolamo II in the palazzo ducale of Atri Atri ( sa, अत्रि) or Attri is a Vedic sage, who is credited with composing numerous hymns to Agni, Indr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paolo De Matteis
Paolo de Matteis (also known as ''Paolo de' Matteis''; 9 February 1662 – 26 January 1728) was an Italian painter. Biography He was born in Piano Vetrale, a hamlet of Orria, in the current Province of Salerno, and died in Naples. He trained with Francesco di Maria in Naples, then with Luca Giordano. He served in the employ of the Spanish Viceroy of Naples. From 1702 to 1705, de' Matteis worked in Paris, Calabria, and Genoa. In Genoa, he painted an ''Immaculate Conception with St. Jerome Appearing to St. Sevrio''. Returning to Naples, he painted decorative schemes for Neapolitan churches, including the vault of the chapel of San Ignatius in the church of Gesù Nuovo in Naples. He also painted an ''Assumption of the Virgin'' for the Abbey at Monte Cassino. Between 1723 and 1725, de' Matteis lived in Rome, where he received a commission from Pope Innocent XIII. He had as pupils Filippo Falciatore, Francesco Peresi, and members of the Sarnelli family including Francesco, Gennaro, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ferrante Amendola
Ferrante Amendola (1664-1724) was an Italian historical painter, active in Naples. Biography He studied under Francesco Solimena, in whose style he painted for some time, but afterwards imitated that of Luca Giordano. He painted many works at Naples, among them two altar-pieces in the Church of the Madonna di Montevergine. Nagler mentions an ingenious picture, by this artist, of a ''Quack Doctor's Shop'' in the Royal Gallery at Munich. Bernardo de Dominici Bernardo de' Dominici or Bernardo De Dominici (13 December 1683 – c. 1759) was an Italian art historian and painter of the late-Baroque period, active mainly in Naples. As a painter he was known for his landscapes, marine vedute and genre scene ... says that Amendola's chief merit consisted in a practical facility of coloring, and that he completely failed in his attempt to imitate the masterly style of Giordano, especially in the draperies. References * 1664 births 1724 deaths 17th-century Italian painters Italian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francesco Solimena
Francesco Solimena (4 October 1657 – 3 April 1747) was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Biography Francesco Solimena was born in Canale di Serino in the province of Avellino. He received early training from his father, Angelo Solimena, with whom he executed a ''Paradise'' for the cathedral of Nocera (a place where he spent a big part of his life) and a ''Vision of St. Cyril of Alexandria'' for the church of San Domenico at Solofra. He settled in Naples in 1674, where he worked in the studio of Francesco di Maria.Pavone, Mario Alberto (2003, January 1). "Solimena family". Grove Art Online. He was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII). By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fabrizio Santafede
Fabrizio Santafede or Fabrizio Santaféde (c. 1560–1623/28) was an Italian painter known for his altarpieces. He painted in a style that rejected the Mannerism popular in the Naples of his time and evident in the works of Francesco Curia. Life Born in Naples, he began as a pupil of his father, the painter Francesco Santafede,Giovan Battista Chiarini (a cura di), ''Delle notizie del bello, dell'antico, e del curioso della città di Napoli raccolte dal canonico Carlo Celano'', Vol. I, Napoli, Stamperia Floriana, 1856, p. 154 and later became a pupil of Marco Pino. He may have been one of the collaborators of Pino on the decoration of the church of S Giovanni Fiorentini in Naples.Antonella D’Autilia. "Santafede, Fabrizio." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 14 March 2017 He traveled extensively, including to Bologna, Florence, Rome, and Venice in his study of the great masters. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luca Giordano
Luca Giordano (18 October 1634 – 3 January 1705) was an Italian late-Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples and Rome, Florence, and Venice, before spending a decade in Spain. Early life and training Born in Naples, Giordano was the son of the painter Antonio Giordano. In around 1650 he was apprenticed to Ribera on the recommendation of the viceroy of Naples and his early work was heavily influenced by his teacher. Like Ribera, he painted many half-length figures of philosophers, either imaginary portraits of specific figures, or generic types. He acquired the nickname ''Luca fa presto'', which translates into "Luca paints quickly." His speed, in design as well as handiwork, and his versatility, which enabled him to imitate other painters deceptively, earned for him two other epithets, "The Thunderbolt" (''Fulmine'') and "The Proteus" of painting. Following a period studying in Rome, Parma and Venice, Gior ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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