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François Duquesnoy
François Duquesnoy or Frans Duquesnoy (12 January 1597 – 18 July 1643) was a Flemish Baroque sculptor who was active in Rome for most of his career. His idealized representations are often contrasted with the more emotional character of Bernini's works, while his style shows a great affinity to Algardi's sculptures. Early years Duquesnoy was born in Brussels. Having come from Flanders, Duquesnoy was called ''Il Fiammingo'' by the Italians and ''François Flamand'' by the French. His father, Jerôme Duquesnoy the Elder, sculptor of the '' Manneken Pis'' fountain in Brussels (1619), was the court sculptor to Archduchess Isabella and Archduke Albert, governor of the Low Countries. Sculptor Jerôme Duquesnoy, the younger was his brother. Some of Francois' early work in Brussels attracted the notice of the Archduke, who gave him the wherewithal to study in Rome, where he would spend his whole career. According to early biographers, when Duquesnoy arrived in Rome in 1618, he stud ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anthony Van Dyck
Sir Anthony van Dyck (, many variant spellings; 22 March 1599 – 9 December 1641) was a Brabantian Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy. The seventh child of Frans van Dyck, a wealthy Antwerp silk merchant, Anthony painted from an early age. He was successful as an independent painter in his late teens, and became a master in the Antwerp guild in 1618. By this time he was working in the studio of the leading northern painter of the day, Peter Paul Rubens, who became a major influence on his work. Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in Genoa. In the late 1620s he completed his greatly admired ''Iconography'' series of portrait etchings, mostly of other artists. He spent five years in Flanders after his return from Italy, and from 1630 was court painter for the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Archduke Albert (1559-1621)
Albert of Austria may refer to: * Albert I of Germany (1255–1308, r. 1298-1308), King of Germany and Duke of Austria * Albert II, Duke of Austria (1298–1358) * Albert III, Duke of Austria (1349–1395) * Albert IV, Duke of Austria (1377–1404) * Albert II of Germany (1397–1439), King of Germany, King of Hungary, Croatia and Bohemia, Duke of Austria as Albert V * Albert VI, Archduke of Austria (1418–1463) * Albert VII, Archduke of Austria (1559–1621), Governor of the Spanish Netherlands * Archduke Albert, Duke of Teschen (1817–1895), Austrian General {{hndis, Albert of Austria ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillaume Coustou
Guillaume Coustou the Elder (29 November 1677, Lyon – 22 February 1746, Paris) was a French sculptor of the Baroque and Louis XIV style. He was a royal sculptor for Louis XIV and Louis XV and became Director of the Royal Academy of Painting and Sculpture in 1735. He is best known for his monumental statues of horses made for the Chateau of Marly, whose replicas now stand in the Place de la Concorde in Paris. Life Coustou was a member of a family of famous sculptors; his uncle, Antoine Coysevox, was a royal sculptor; his elder brother, Nicolas Coustou was a sculptor, and his son Guillaume Coustou the Younger also become a noted royal sculptor. Like his older brother, he won the (Prix de Rome) of the Royal Academy which entitled him to study for four years at the French Academy in Rome. However, he refused to accept the discipline of the Academy, gave up his studies, set out to make his own career as an artist. He worked for a time in the atelier of the painter Pierre Le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santa Maria Di Loreto (Rome)
Santa Maria di Loreto is a 16th-century church in Rome, central Italy, located just across the street from the Trajan's Column, near the giant Monument of Vittorio Emanuele II. History After the Jubilee of 1500, the association of bakers (Sodalizio dei Fornai) received permission from Pope Alexander VI to build a church at this site. Construction of this church began in 1507 under Donato Bramante, carried out by Andrea Sansuini and completed by Antonio da Sangallo the younger. The design called for a square first story and an octagonal second story built in travertine and brick. It was one of the earliest domed square churches built on classical forms. Sangallo's facade is a maturer, more ornate version of the facade of the Palazzo Baldassini. A second dome and lantern were added by Jacopo del Duca around 1575. The church was built atop an earlier 15th century chapel, which contained an icon of the Virgin of Loreto, hence the church retained the icon and acquired the title. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
F Duquesnoy Santa Susana 1629 Loreto
F, or f, is the sixth letter in the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''ef'' (pronounced ), and the plural is ''efs''. History The origin of 'F' is the Semitic letter ''waw'' that represented a sound like or . Graphically it originally probably depicted either a hook or a club. It may have been based on a comparable Egyptian hieroglyph such as that which represented the word ''mace'' (transliterated as ḥ(dj)): T3 The Phoenician form of the letter was adopted into Greek as a vowel, ''upsilon'' (which resembled its descendant ' Y' but was also the ancestor of the Roman letters ' U', ' V', and ' W'); and, with another form, as a consonant, ''digamma'', which indicated the pronunciation , as in Phoenician. Latin 'F,' despite being pronounced differently, is ultimately descended from digamma and closely resembles it in form. After sound changes eliminated ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baldacchino
A baldachin, or baldaquin (from it, baldacchino), is a canopy of state typically placed over an altar or throne. It had its beginnings as a cloth canopy, but in other cases it is a sturdy, permanent architectural feature, particularly over high altars in cathedrals, where such a structure is more correctly called a ciborium when it is sufficiently architectural in form. Baldachins are often supported on columns, especially when they are disconnected from an enclosing wall. A cloth of honour is a simpler cloth hanging vertically behind the throne, usually continuing to form a canopy. It can also be used for similar canopies in interior design, for example above beds, and for processional canopies used in formal state ceremonies such as coronations, held up by four or more men with poles attached to the corners of the cloth. "''Baldachin''" was originally a luxurious type of cloth from Baghdad, from which name the word is ultimately derived, appearing in English as "''baudek ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palazzo Spada
The Palazzo Spada is a palace located on Piazza di Capo Ferro #13 in the rione Regola of Rome, Italy. Standing very close to the Palazzo Farnese, it has a garden facing towards the Tiber river. The palace accommodates a large art collection, the Galleria Spada. The collection was originally assembled by Cardinal Bernardino Spada in the 17th century, and by his brother Virgilio Spada, and added to by his grandnephew Cardinal Fabrizio Spada, History In 1540, the palace was commissioned by Cardinal Girolamo Capodiferro, and utilized as an architect Bartolomeo Baronino of Casale Monferrato, while Giulio Mazzoni and a team provided lavish external and internal stucco-work. The palace was briefly owned by the Mignanelli family, until in 1632, the palace was purchased by Cardinal Spada, who commissioned modifications from Francesco Borromini. The Baroque architect Borromini who created a masterpiece of forced perspective optical illusion in the arcaded courtyard, in which dim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villa Doria Pamphili
The Villa Doria Pamphili is a seventeenth-century villa with what is today the largest landscaped public park in Rome, Italy. It is located in the quarter of Monteverde, on the ''Gianicolo'' (or the Roman Janiculum), just outside the Porta San Pancrazio in the ancient walls of Rome where the ancient road of the '' Via Aurelia'' commences. It began as a villa for the Pamphili family and when the line died out in the eighteenth century, it passed to Prince Giovanni Andrea IV Doria, and has been known as the Villa Doria Pamphili since. History Old villa The nucleus of the villa property, the ''Villa Vecchia'' or ‘old villa’, already existed before 1630, when it was bought by Pamfilio Pamfili, who had married the heiress Olimpia Maidalchini, to enjoy as a suburban villa. Thereafter he set about buying up neighbouring vineyards to accumulate a much larger holding, which was often known as the ''Bel Respiro'' or 'beautiful breath' as it stood on high ground, above the malarial a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bas-relief
Relief is a sculptural method in which the sculpted pieces are bonded to a solid background of the same material. The term '' relief'' is from the Latin verb ''relevo'', to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. When a relief is carved into a flat surface of stone (relief sculpture) or wood ( relief carving), the field is actually lowered, leaving the unsculpted areas seeming higher. The approach requires a lot of chiselling away of the background, which takes a long time. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be simply added to or raised up from the background. Monumental bronze relief ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Pietro Bellori
Giovanni Pietro Bellori (15 January 1613 – 19 February 1696), also known as Giovan Pietro Bellori or Gian Pietro Bellori, was an Italian painter and antiquarian, but, more famously, a prominent biographer of artists of the 17th century, equivalent to Giorgio Vasari in the 16th century. His ''Lives of the Artists'' (''Vite de' Pittori, Scultori et Architetti Moderni''), published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. «Bellori is the "predecessor of Winckelmann" not only as an antiquarian but also as an art theorist. Winckelmann's theory of the "ideally beautiful" as he expounds it in ''Geschichte der Kunst des Altertums'', IV.2.33 ff., thoroughly agrees—except for the somewhat stronger Neoplatonic impact, which is to be explained perhaps more as an influence of Raphael Mengs than as an influence of Shaftesbury—with the content of Bellori's ''Idea'' (to which Winckelmann also owes his acquaintance with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cassiano Dal Pozzo
Cassiano dal Pozzo (1588 – 22 October 1657) was an Italian scholar and patron of arts. The secretary of Cardinal Francesco Barberini, he was an antiquary in the classicizing circle of Rome, and a long-term friend and patron of Nicolas Poussin, whom he supported from his earliest arrival in Rome: Poussin in a letter declared that he was "a disciple of the house and the museum of cavaliere dal Pozzo." A doctor with interests in the proto-science of alchemy, a correspondent of major figures like Galileo, a collector of books and master drawings, dal Pozzo was a node in the network of European scientific figures. Biography Dal Pozzo was born in Turin, to a noble family originating from Vercelli, the grandson of the first minister of the Grand Duke of Tuscany. He was raised in Florence and educated at the University of Pisa. In 1612 he moved to Rome, where with deft diplomacy he moved among influential and cultivated patrons. After taking up a position as secretary in Cardinal Barbe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas Poussin
Nicolas Poussin (, , ; June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. Details of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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