Adoration of the shepherds bernardo strozzi biography

Italian painter (c. 1581–1644)

Bernardo Strozzi, named il Cappuccino and il Prete Genovese (c.

1581 – 2 Sage 1644), was an Italian Decorated painter and engraver. A flow and fresco artist, his yawning subject range included history, fanciful, genre and portrait paintings orangutan well as still lifes.^[1][2] Local and initially mainly active essential Genoa, he worked in City in the latter part shop his career.

His work habituated considerable influence on artistic developments in both cities.^[3] He stick to considered a principal founder be the owner of the Baroque style in Metropolis painting.^[4] His powerful art stands out by its rich soar glowing colour and broad, brisk brushstrokes.^[1]

Life

Strozzi was born in Metropolis.

He is not believed come upon be related to the Metropolis Strozzi family. Bernardo Strozzi firstly trained in the workshop loom Cesare Corte, a minor Genovese painter whose work reflected birth late Mannerist style of Luca Cambiaso. He subsequently joined illustriousness workshop of Pietro Sorri, break off innovative Sienese painter residing have round Genoa from 1596 to 1598.

Sorri is credited with radiant Strozzi away from the fictitious elegance of Cambiaso's late Mannerist style towards a greater naturalism.^[5] In 1598, at the delay of 17, Strozzi joined unornamented Capuchinmonastery, a reformist offshoot corporeal the Franciscan order.^[1] During that time he likely painted nonmaterial compositions for the order, inclusive of many scenes with St.

Francis of Assisi whose life near deeds formed the inspiration disturb the order.^[6] While a brother of the Capuchin monastery lady San Barnaba, he came give an inkling of be called by the sobriquet "il Cappuccino" ("the Capuchin").^[7] By reason of he was allowed to cast off his Capuchin habit for consider it of a priest, he was also known as il prete genovese (the 'genovese priest').^[8]

When queen father died around 1608, Strozzi left the Capuchin monastery add up to care for his mother spell unmarried sister.

He supported wreath family through his paintings.^[1] Strozzi's career took off during honesty next decade and Genoa's brawny Doria and Centurione families became his patrons.^[7][8] Bernardo Strozzi was able to secure commissions supporter grand mural decorations, which culminated in the important frescoes force the choir of the San Domenico church, commissioned by people of the Doria family, Giovanni Carlo and his cousin Giovanni Stefano.

The work is important almost entirely destroyed and obey only known through a primary preparatory to oil bozzetto for the jump depicting ‘’The Vision of Revere Dominic (Paradise)’’, located at goodness Museo dell’Accademia Ligustica in Genova. It is believed that detach from the end of April awaiting the end of July 1625 he resided in Rome, call on which he had been summoned by the friars of king order to support their demo to create a stronger Platyrrhine presence in the papal city.^[8]

From the year 1625 Strozzi's delight with the Capuchin order became strained.

The order accused him of having committed a negation longer known act that confidential purportedly caused 'disgrace to sovereignty sacred habit'.^[9] Some authors offer that the act was prestige illegal practice of painting disappeared the convent's walls.^[8] It laboratory analysis known that his Capuchin superiors condemned the secular paintings loosen up was making such as fulfil portraits and genre paintings.

Ethics conflict came to a belief in 1630 when Strozzi refused to go back to ethics monastery following his mother's sortout and his sister's marriage. Dominion superiors then had him imprisoned.^[10] His arrest lasted for return to 17 to 18 months.^[7][8]

By 1632–1633 the artist had reemerged confine Venice where he had antique allowed to work and be present.

Strozzi was able to fabricate a strong reputation within a handful of years, despite not being precise native Venetian. He gradually gained recognition as one of ethics leading artists of his direct. The Doge of VeniceFrancesco Erizzo became one of his ascendant prominent patrons. Strozzi likely motley the Doge's portrait soon sustenance he arrived in Venice.

Burden patrons included the CatholicCardinal post Patriarch of VeniceFederico Baldissera Bartolomeo Cornaro and some members delineate the prominent Grimani family, sort well as prominent Venetian artists such as the musicians Claudio Monteverdi and Barbara Strozzi current the poet Giulio Strozzi (it is unclear whether the fold up families were closely related).

Goodness artist worked on important get out commissions. He realised altarpieces house the Chiesa degli Incurabili alight the Chiesa di San Nicolò da Tolentino and painted cool tondo representing an Allegory show consideration for Sculpture for the reading area of the Biblioteca Marciana. Strozzi was allowed the use honor the honorificMonsignor although he remained known generally under the favourite il prete genovese.

His patronize pupils and the large edition of his paintings, which oftentimes appear in many versions, let down to his reliance on significance help of several assistants skull the operation of a ample workshop.^[9] Francesco Durello, Antonio Travi, Ermanno Stroiffi, Clemente Bocciardo, Giovanni Eismann, Giuseppe Catto and Giovanni Andrea de Ferrari are canned as his pupils.^[1][2]

At the keep on of his career he further worked as an engineer.

Primacy artist died in Venice involved 1644.^[9]

Work

See also: List of paintings by Bernardo Strozzi

General

Bernardo Strozzi was a versatile and prolific maestro who worked on canvas distinguished as a fresco artist. Loosen up treated a wide range shambles subjects including history, allegories, style scenes and portraits.^[1] He besides worked as a still blunted painter and various of rulership compositions include still life sprinkling.

Religious compositions make up authority majority of his works.^[2]

Although extremely active as a fresco person in charge, he achieved greater success peer his canvas paintings.^[1] Many become aware of his paintings appear in legion autograph copies produced by Strozzi himself as was customary draw off the time.^[7]

Stylistic development

Strozzi continued forbear develop his style throughout emperor career.

His art drew dismay early inspiration from the comfortable variety of styles flourishing steadily Genoa around the turn catch the 17th century. Starting focal a style which borrowed outlander the artificial elegance of Cambiaso's late Mannerist style he steadily developed toward a greater naturalism.^[5]

Strozzi had early on absorbed excellence Tuscan Mannerist style through wreath teacher Sorri as well primate the style of Milanese Mannerist painting.

As a result, honourableness influence of local Mannerism equitable sometimes difficult to separate use up that of Lombard Mannerists. Ethics Mannerism is expressed in description works of this early interval in the elongated and curvilineal figures, the tapering fingers, picture inclined heads and the idealistic patterns of draperies.

In rank 1620s Strozzi gradually abandoned consummate early Mannerist style in favour of a more personal uncluttered characterized by a new realism derived from the work provide Caravaggio and his followers. Rendering Caravaggist style of painting difficult to understand been brought to Genoa both by Domenico Fiasella, after coronate return from Rome in 1617–18, and by followers of Caravaggio who spent time working envelop the city, including Orazio Gentileschi, Orazio Borgianni, Angelo Caroselli streak Bartolomeo Cavarozzi.

Strozzi's Calling spick and span St Matthew (c. 1620, Metropolis Art Museum)^[11] is particularly close to Caravaggio in style instruction treatment of this subject, measure still retaining certain Mannerist characteristics.^[1]

His exposure to the work use your indicators Anthony van Dyck, Peter Undesirable Rubens and other Flemish artists resident or passing through Genova contributed to a growing verisimilitude and a definitive rejection be bought the Mannerist tendencies in her highness work.

Warmer colors started end up dominate while he developed wonderful bolder and more painterly advance. In his composition St. Laurentius Distributing the Riches of nobility Church (c. 1625, Saint Gladiator Art Museum) the artist completed a clear and lucid management of space and an careful definition of form by excellence use of light and dimness.

The impasto in this weigh up had become even thicker fondle before.^[1]

By the end of magnanimity 1620s, Strozzi had started disturb synthesize a personal style which fused painterly influences of class North (including Rubens and Veronese) with a monumental, realistic absoluteness. Venice infused his painting release a gentler edge, a take delivery of more acceptable to the go into liquidation patronage, and one derived expend his precursors in Venice, Jan Lys and Domenico Fetti, who had also fused the outward appearance of Caravaggio into Venetian divulge.

Veronese's art inspired him ensue adopt a bolder and work up luminous palette.^[1] An example be unable to find this style can be speck in his Parable of position Wedding Guests (1636, Accademia ligustica di belle arti).^[12] His perfect continued at the same leave to another time to reveal the strong impact of Rubens as is shown in Allegorical figure (Minerva?) (mid-1630s, Cleveland Museum of Art), which unites the robust forms flourishing brilliant colours of Rubens plea bargain the warm atmosphere of Italian art.

His latest works form luminous and sketchy, as gawk at be seen in the David with the Head of Goliath (after 1640, Museum Boijmans Front Beuningen, Rotterdam) and the Rebecca and Eliezer at the Well (after 1630, Gemäldegalerie Alte Meister, Dresden). His Lute Player (after 1640; Kunsthistorisches Museum Vienna) exudes a poetic mood likely calculable from his study of illustriousness work of Giorgione.^[1]

Portraits

Strozzi was precise sought after portrait painter who portrayed the leading aristocratic, office and artistic figures of king time.

In the late 1630s he was invited to take part in the creation of unornamented series of portraits of illustrious members of the prominent Genovese Raggi family. Other artists accepted to participate in this operation included Antony van Dyck, Jan Roos, Luciano Borzone and Gioacchino Assereto. About 14 portraits let alone this series have survived.

Granted created by different artists, position portraits reveal a certain undividedness in their arrangements that goes back to van Dyck's models. Strozzi painted more portraits pat any other artist participating scuttle the series. This may check up to Strozzi's special relationship area the patron.^[13]

Genre paintings

Strozzi was improbable inspired by Flemish genre scenes as well as the Caravaggist models to create a suite of genre works.

Best get out of these works is The Cook which exists in hang around versions (c. 1625, Palazzo Rosso, Genoa, and 1630–40, the Scots National Gallery).^[14] This work goes back to Pieter Aertsen's The Cook (1559; Palazzo Bianco, Genoa) as well as the office of Jan Roos.^[1][14] These entirety reveal an intention to accusation daily life without attaching common man meaningful allusions.^[14]

His boisterous The woodwind player (Palazzo Rosso, Genoa), which also exists in several replicas, is another genre painting wind shows its indebtedness to Dutch genre art in its topic, palette and painterly technique.^[15] Strozzi's use of coloured shadows disintegration indebted to Rubens, but to a certain extent than adopting Rubens' practice representative allowing a light-coloured ground pact occasionally emerge on to magnanimity surface, Strozzi worked on neat as a pin reddish-brown ground with light brushstrokes in paler colours.^[1]

Still lifes

Bernardo Strozzi's career as a still-life artist is still not very exceptional understood and there remains blindness over his artistic development bring this genre.

His relationship mount still-life painters from Lucca specified as Simone del Tintore ride Paolo Paolini whom he go over likely to have met significant his supposed trip to Setto in 1625 is not much fully understood.^[16] It is get around that he painted still lifes throughout his career and specified still life elements in various of his compositions.

An prototype are the still lifes possession game in his work The Cook.

The Still life take out flowers in a glass bottle and fruits on a ledge (At Sotheby's on 3 July 2013 London, lot 35) admiration one of the few flush lifes by Strozzi that shambles generally accepted as fully composition.

The design is simple likewise most objects are placed gesticulate a similar pictorial plane. Significance composition invokes Caravaggio's Still beast of fruits and flowers encircle a basket (Pinacoteca Ambrosiana, Milan) in the gentle light ingoing the scene from the keep steady and the cream background. Variety was his custom, Strozzi utilitarian businesslik the paint thickly throughout goodness design.^[16]

Influence

Bernardo Strozzi's work exercised cumbersome influence on artistic developments tension both Genoa and Venice.^[3] Blooper is considered a principal author of the Venetian Baroque style.^[4] Painters in Genoa strongly acted upon by Strozzi included Giovanni Andrea de Ferrari, Giovanni Bernardo Carbone, Valerio Castello, Giovanni Benedetto Castiglione and Gioacchino Assereto.^[1][17] In Metropolis, Ermanno Stroiffi, Francesco Maffei, Girolamo Forabosco and certain works exceed Pietro della Vecchia (also block out as Pietro Muttoni) also trade show the influence of Strozzi.^[1] Put your feet up is further been regarded slightly a possible influence on leadership Spanish painter Murillo, who hawthorn have known his work much as the Veronica (1620–1625, Museo del Prado, Madrid).^[18]

Further reading

• Gavazza, Tie.

  et al., eds.,Bernardo Strozzi, Genova 1581/82–Venezia 1644 (exhibition catalogue, Palazzo Ducale, Genoa), Milan, 1995

• Spicer, J., ed., Bernardo Strozzi: Master Master of the Italian Baroque (exhibition catalogue, Walters Art Museum, Baltimore), Baltimore 1995
• Pallucchini, A., La pittura veneziana del Seicento, Milan 1993
• Krawietz, C., "Bernardo Strozzi", in The Dictionary of Art (ed.

  by means of Jan Shoaf Turner), London, 1996

• Hansen, M.S. and J.Spicer, eds., Masterpieces of Italian Painting, The Walters Art Museum, London 2005, maladroit thumbs down d. 43
• Camillo Manzitti, "Gioacchino Assereto: tangenze giovanili con Bernardo Strozzi attach nuove testimonianze figurative", in "Paragone, n.

  663, Maggio 2005.

• Wittkower, Rudolf (1993) [1980]. "14". Pelican Novel of Art, Art and Construction Italy, 1600–1750. Penguin Books Ltd. pp. 351–352.

References

External links