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The second largest city in 17th-century Europe, Naples constituted a vital Mediterranean center in which the Spanish Habsburgs, the clergy, and Neapolitan aristocracy, together with the resident merchants, and other members of the growing professional classes jostled for space and prestige. Their competing programs of building and patronage created a booming art market and spurred painters such as Jusepe de Ribera, Massimo Stanzione, Salvator Rosa, and Luca Giordano as well as foreign artists such as Caravaggio, Domenichino, Artemisia Gentileschi, and Giovanni Lanfranco to extraordinary heights of achievement. This new reading of 17th-century Italian Baroque art explores the social, material, and economic history of painting, revealing how artists, agents, and the owners of artworks interacted to form a complex and mutually sustaining art world. Through such topics as artistic rivalry and anti-foreign labor agitation, art dealing and forgery, cultural diplomacy, and the rise of the independently arranged art exhibition, Christopher R. Marshall illuminates the rich interconnections between artistic practice and patronage, business considerations, and the spirit of entrepreneurialism in Baroque Italy.
This second edition of Historical Dictionary of Baroque Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on famous artists, sculptors, architects, patrons, and other historical figures, and events.
This book examines the social and artistic integration of Netherlandish painters in early modern Naples, placing their experiences as immigrants within the context of the rapidly evolving local artistic scene and the social and economic dynamics of Europe's second-largest metropole.
"Baroque Naples" presents documents on the history, culture, and art of the city during its golden age of prestige and prosperity under the Spanish Hapsburgs and Bourbons. Texts cover the history of the city and kingdom, contemporary travel guides, descriptions of the city's art, architecture and classical inheritance, its literature, music and theater. There are also chapters that offer texts by the famed Neapolitan economists, legal thinkers and philosophers of the age; a survey of religious thought, and of the Neapolitan contribution to the natural sciences. The selections are preceded by brief introductions to the writers and the ideas presented in the texts. Sixty-nine selections include Enrico Bacco, John Evelyn, Salvator Rosa, Luigi Vanvitelli, the Neapolitan Marinisti, Pietro Trapassi (Metastasio), Giovanni Battista Della Porta, Antonio Serra, Giuseppe Palmieri, Gaetano Filangieri, Tommaso Campanella, Giambattista Vico, Fynes Moryson and many others. The volume also includes brief biographies and chronologies. 60 illustrations, 3 maps, introduction, bibliography, index.
How the philosophy of Giambattista Vico was influenced by eighteenth-century Neopolitan painting Can painting transform philosophy? In Inventing Falsehood, Making Truth, Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy. Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective. Revealing the close connections between the arguments of the philosophers and the arguments of the painters, he shows how Vico drew on both in his influential philosophy of history, The New Science. Bull suggests that painting can serve not just as an illustration for philosophical arguments, but also as the model for them--that painting itself has sometimes been a form of epistemological experiment, and that, perhaps surprisingly, the Neapolitan Baroque may have been one of the routes through which modern consciousness was formed.
Genoa completed its transformation from a faded maritime power into a thriving banking center for Europe in the seventeenth century. The wealth accumulated by its leading families spurred investment in the visual arts on an enormous scale. This volume explores how artists both foreign and native created a singularly rich and extravagant expression of the baroque in works of extraordinary variety, sumptuousness, and exuberance. This art, however, has remained largely hidden behind the facades of the city's palaces, with few works, apart from those by the school's great expatriates, found beyond its borders. As a result, the Genoese baroque has been insufficiently considered or appreciated.0Lavishly illustrated, 'A Superb Baroque' is comprehensive, encompassing all the major media and participants. Presented are some 140 select works by the celebrated foreigners drawn to the city and its flourishing environment. Offering three levels of exploration-essays that frame and interpret, section introductions that characterize principal currents and stages, and texts that elucidate individual works-this volume is by far the most extensive study of the Genoese baroque in the English language.00Exhibition: National Gallery of Art, Washington, DC, USA (03.05.-16.08.2020) / Scuderie del Quirinale, Rome, Italy (03.10.2020 - 10.01.2021).
This volume represents a long overdue reassessment of the Neapolitan painter Paolo de Matteis, an artist largely overlooked in English language scholarly publications, but one who merits our attention for the quality of his work and the originality of its iconography, as well as for his remarkable ability to respond creatively to his patrons? aesthetic ideals and agendas. Following a meticulous examination of the ways in which posterity?s impression of de Matteis has been conditioned by a biased biographical and literary tradition, Livio Pestilli devotes rich, detailed analyses to the artist?s most significant paintings and drawings. More than just a novel approach to de Matteis and the Neapolitan Baroque, however, the book makes a significant contribution to the study and understanding of early eighteenth-century European art and cultural history in general, not only in Naples but in other major European centers, including Paris, Vienna, Genoa, and Rome.
An important reassessment of the later career and life of a beloved baroque artist Hailed as one of the most influential and expressive painters of the seventeenth century, Artemisia Gentileschi (1593–ca. 1656) has figured prominently in the art historical discourse of the past two decades. This attention to Artemisia, after many years of scholarly neglect, is partially due to interest in the dramatic details of her early life, including the widely publicized rape trial of her painting tutor, Agostino Tassi, and her admission to Florence’s esteemed Accademia del Disegno. While the artist’s early paintings have been extensively discussed, her later work has been largely dismissed. This beautifully illustrated and elegantly written book provides a revolutionary look at Artemisia’s later career, refuting longstanding assumptions about the artist. The fact that she was semi-illiterate has erroneously led scholars to assume a lack of literary and cultural education on her part. Stressing the importance of orality in Baroque culture and in Artemisia’s paintings, Locker argues for her important place in the cultural dialogue of the seventeenth century.