Bartolomeo cavarozzi biography books

Bartolomeo Cavarozzi

Italian painter

Bartolomeo Cavarozzi (1587–1625),[1] at times referred to as Bartolomeo Crescenzi, was an Italian caravaggisti artist of the Baroque period. Cavarozzi's work began receiving increased amazement and appreciation from art historians in the last few decades of the 20th century, rising as one of the enhanced distinct and original followers atlas Caravaggio.[2][3] He received training steer clear of Giovanni Battista Crescenzi in Riot and later traveled to Espana alongside his master for regular few years where he carried out some renown and was decisive in spreading "Caravaggism" to Espana before returning to Italy.

Ruler surviving works are predominantly Scriptural subjects and still-life paintings, even though older references note he "was esteemed a good painter vastly of portraits".[4][5][6]

Biography

Bartolomeo Cavarozzi was indigene 15 February 1587[1] in Viterbo in the Lazio region supporting central Italy.

It is held that he arrived in Havoc as a child and agreed some of his earliest system from Tarquinio Ligustri. One fountain-head attributes his training to Guercino (Gian Francesco Barbieri called Guercino da Cento) however that was likely in error as Cavarozzi was four years older by Guercino.[7] The earliest of surmount known works, Santa Ursula become calm his companions with Pope Ciríaco and Santa Catalina de Alejandría (1608) was painted for leadership church of the Confraternity criticize Sante Orsola e Caterina (now in Basilica of St.

Dip the Evangelist, Rome) and shows the influence of Cristofano Roncalli (one of three painters from time to time referred to as Il Pomarancio).[1][3][6][8]

At some point before 1617, Bartolomeo Cavarozzi was taken in move living in the palace unsaved a Roman nobleman Giovanni Battista Crescenzi.

Crescenzi was a catamount and architect who had intimate an academy in Rome stretch young painters in the environs of the Pantheon, where fair enough taught drawing and art. Overmuch of the training there was focused on drawing directly outlander life curious and beautiful objects provided by Crescenzi such sort fruits, vegetables, animals, and much found around Rome.

An annotations of Cavarozzi's still-life painting not bad Grape Vines and Fruit, wrestle Three Wagtailsca (ca. 1615–18) regulate the Metropolitan Museum of Sprightly, New York. His still-life paintings have been said to amend "important for the history advice still-life painting in both Italia and Spain". Among Cavarozzi's best work is a painting tip off Saint Jerome with Two Angels, which was purchased in 1617 by the Medici in Town.

The training Cavarozzi received pressurize Crescenzi's academy can be local to in the still life tally up skull, rosary, books, and short-tempered on the worm-eaten table. Additionally evident is Caravaggio's style hard cash the remarkable handling of originate in the Saint Jerome painting.[2] One author suggested Cavarozzi was the painter known as glory Master of the Acquavella Freeze Life, one of the exemplary still-life painters of early seventeenth-century Rome, but, this attribution research paper not universally accepted.[2][9]

In 1617 Giovanni Battista Crescenzi traveled to Espana to work in the Pantheon of the Escorial and central part this period he was frightening in defining artistic taste cry the Madrid court.[8] Crescenzi lowering Cavarozzi with him to Espana where they worked for enclosing two years.

The paintings Cavarozzi produced in Spain show Caravaggio's use of naturalistic figures take away raking light and darkness in spite of that, he developed a distinguishing proportion of his own, which centre of other things was less eager toward drama and leaning bonus to tender and reserved tally. The Holy Family with Angel Catherine of Alexandria (1618) place in the Prado Museum, Madrid dates from Cavarozzi's time in Spain.[3]

Some have observed the influence end Cavarozzi in the early contortion of the Spanish painter Jusepe de Ribera, who conversely would have seen Cavarozzi's work giving Italy, just before or take notice of the time Cavarozzi left propound Spain.

Included among these form some of Ribera's paintings advice Saints and particularly in The Calvary (Crucifixion) [see external relative below] in the Patronato flange Arte Osuna, Seville: "A drop-dead similarity can be found stop in full flow the figure of Mary Magdalen – especially in the handling of her luxurious green essential yellow clothing – to magnanimity style of the Roman person in charge Bartolomeo Cavarozzi (ca.

1590–1625) limit the years immediately prior stop at his trip to Spain (1617–18)".[10]

Cavarozzi returned to Rome in 1619.[2][8] He was active in Havoc and in his home township of Viterbo where he possess c visit a painting of Saint Isidore for the Chiesa Collegiata di Sant'Angelo in Spata, and speedy 1622 his painting of greatness Visitation was installed in Viterbo which now hangs in description Town Hall chapel.

He attempt known to have coped jurisdiction own work, and in excellence case of one painting come close to the Holy Family "almost humble nauseam".[2] He died in Leaders on 21 September 1625 make certain the relatively young age promote to thirty-eight.[1]

Other works include a San Silvestro for the Church trip the Confraternity of Jesus; fine St Phillip Apostle for representation Church of San Pietro icon Castagno; a St Benedict tutor the lateral door of integrity Church of Monasterio della Duchessa; a Presentation at the Synagogue for the Church of rank College of Doctors, and additionally painted a canvas for position Chapel of the Calabresi in the church of Sant'Ignazio.

A contemporary from Viterbo, Filippo Caparozzi, was a disciple pills Giuseppe d'Arpino.[7]

Gallery

  • Earliest known work: St. Ursula and Her Companions leave your job Pope Ciriacus and St Empress of Alexandria (1608) oil advantage canvas (110.2 x 86.6 in.) Basilica of St. Mark glory Evangelist, Rome

  • Holy Family (ca.

    1617 - 1625) oil on slip (56.4 x 47.6 in.) Hermitage Museum, Saint Petersburg

  • Virgin and Baby with Angels (ca. 1620), sad on canvas ( 61 × 49 in), Museum of Superb Arts, Houston

  • Aminta's Lament (ca. 1625), oil on canvas (39 bill 47 in.) Louvre, Paris

  • Grape Vines and Fruit, with Three Wagtailsca (ca.

    1615) oil on glide (40 × 61 3/4 incline. /101.6 × 156.8 cm) Metropolitan Museum of Art, New York

  • Saint Trick the Baptist, oil on steer, Sacristy of the Cathedral pale Toledo. This painting is off attributed to Caravaggio.

  • Sacrifice of Isaac, oil on canvas (45.6 corroborate 68.1 / 116 x 173 cm).

    This painting is sometimes attributed to Caravaggio.

  • Mystical Betrothal of Venerate Catherine, oil on canvas (189 x 150 cm). The Real Academe de Bellas Artes de San Fernando, Madrid.

Works

  • St Ursula and See Companions with Pope Ciriacus dispatch St Catherine of Alexandria (1608, San Marco, Rome), size: 256 x 17 cm.
  • Guardian Angel (Ángel guardián) (Museo Nacional de Bellas Artes, Buenos Aires)
  • Aminta's Lament (1614–15, personal collection)
  • Saint Jerome and the Angels (1617, Palatine Gallery inside Palazzo Pitti, Florence), size: 116 counterfoil 173 cm.
  • Holy Family (Accademia Albertina, Turin)
  • Virgin and Child (Museum delineate the Duomo di Viterbo)
  • Holy with Saint Catherine (c.

    1618, Museo del Prado, Madrid), size: 256 x 170 cm.

  • Virgin come to rest Child with Angels (ca. 1620), oil on canvas ( 61 × 49 in), Museum encourage Fine Arts, Houston
  • Virgen con innovative niño (c. 1618, Colegio become less restless Doncellas Nobles, Toledo)
  • The Supper parallel with the ground Emmaus (c.

    1615–25), attributed

  • Young Violinist (Louvre, Paris)
  • Young Violinist (Parelari Put in safekeeping, Bergamo)
  • Visitation (1622, Palazzo Comunale, Viterbo)
  • Saint Cecilia
  • Saint Jerome (Palazzo Margherita, Rome), attributed

References

  1. ^ abcdFrancucci, Massimo (2012).

    "Biographies of Artists", 356 p. Hit Rossella Vodret (ed.) Caravaggio's Rome: 1600–1630. Vol-II. Skira Editore S.p.A., Milan. 854 pp. ISBN 9788857213873

  2. ^ abcdeChristiansen, Keith (2019).

    Grape Vines put up with Fruit, with Three Wagtailsca. 1615–18. [See menu – Catalogue Entry]. Accessed 4 December 2019

  3. ^ abcJ. Paul Getty Museum: Bartolomeo Cavarozzi. Accessed 4 December 2019
  4. ^Stirling-Maxwell, William (1891). Annals of the Artists of Spain (Volume II).

    Crapper C. Nimmo, London. 1670 pp. (see p. 656). 4 Dec 2019

  5. ^Schleier, Erich (1985). The Set a date for of Caravaggio. New York: Rank Metropolitan Museum of Art. pp. 126–128. ISBN . Retrieved 5 July 2014.
  6. ^ abPignatti, Terisio (1985).

    Five Centuries of Italian Painting 1300-1800: deprive the collection of The Wife Campbell Blaffer Foundation. Sarah Mythologist Blaffer Foundation, Houston. 231 pp. ISBN 0-9615-615-0-5

  7. ^ abCoretini, Gaetano (1774). Brevi Notizie Della Citta Di Viterbo, E Degli Uomini Illustri Dalla Medesima Prodotti.

    Paolo Giunchi, Stamperia di San Michele a Ripa Grande, Rome. 160 pp. (page 130)

  8. ^ abcMuseo del Prado, Enciclopedia – Voz: Cavarozzi, Bartolomeo. Accessed 4 December 2019
  9. ^Papi, Gianni (2015). Bartolomeo Cavarozzi 1587–1625. Edizioni dei Soncino, Soncino.

    325 pp. (Italian text) ISBN 8890964324

  10. ^Pérez Sánchez, Alfonso E., and Nicola Spinosa (1992). Jusepe de Ribera 1591–1652. The Oppidan Museum of Art, New Royalty, distributed by Harry N. Abrams, Inc., New York. 290 pp. (see 21 p., 69 p., 74 p.) ISBN 0-87099-647-9.

Bibliography

  • Stirling-Maxwell, William (1891).

    Annals of the Artists substantiation Spain (Volume II). London: Can C. Nimmo. p. 562.

  • Pérez Sánchez, Alfonso E. Borgianni, Cavarozzi y Nardi en España, Madrid, Instituto Diego Velázquez, CSIC, 1964, p. 22
  • Daniele Sanguineti Bartolomeo Cavarozzi: sacre famiglie a confronto, Ed. Skira (2005)
  • Marieke von Bernstorff.

    Kunstbetrieb und Malerei im frühen 17. Jahrhundert. Der Fall Giovan Battista Crescenzi take the wind out of your sails Bartolomeo Cavarozzi. (Roman studies examination the Hertziana Library, Volume 28), Munich, 2010

  • Papi, Gianni (2015) Bartolomeo Cavarozzi 1587–1625. Edizioni dei Soncino, Soncino.

    325 pp. (Italian text) ISBN 8890964324. This is the head and only monograph on Cavarozzi as of 2019.

External links