Accademia di San Luca

Last updated
Accademia di San Luca
Named afterSt. Luke
Formation1577
Founded atRome
TypeAssociation of artists
Coordinates 41°54′6″N12°29′1″E / 41.90167°N 12.48361°E / 41.90167; 12.48361
LeaderFederico Zuccari
SecessionsAccademia Nazionale di San Luca
Website accademiasanluca.eu
Formerly called
Compagnia di San Luca

The Accademia di San Luca (English: Academy of Saint Luke) is an Italian academy of artists in Rome. The establishment of the Accademia de i Pittori e Scultori di Roma was approved by papal brief in 1577, and in 1593 Federico Zuccari became its first principe or director; the statutes were ratified in 1607. [1] : 30  [2] Other founders included Girolamo Muziano and Pietro Olivieri. The Academy was named for Luke the Evangelist, the patron saint of painters.

Contents

From the late sixteenth century until it moved to its present location at the Palazzo Carpegna, it was based in an urban block by the Roman Forum and although these buildings no longer survive, the Academy church of Santi Luca e Martina, does. Designed by the Baroque architect, Pietro da Cortona, its main façade overlooks the Forum.

History

The Academy's predecessor was the Compagnia di San Luca, a guild of painters and miniaturists, which met in the demolished church of S.Luca all'Esquilino, near the Basilica of S. Mary Major, [3] and whose statutes and privileges were renewed 17 December 1478 by Pope Sixtus IV. Among the founding members was the famous painter Melozzo da Forlì, as he was the pictor papalis.[ citation needed ]

Santi Luca e Martina Facade - Santi Luca e Martina - Rome 2016 (3).jpg
Santi Luca e Martina

Through the initiative of Girolamo Muziano, who was both one of the leading artists in Rome and superintendent of works for Pope Gregory XIII, the Pope granted the Academy official recognition in 1577. In 1588 Pope Sixtus V gave the institution the ancient church of S. Martina, which was rededicated as Santi Luca e Martina. [4]

In 1605, Pope Paul V granted the Academy the right to pardon a condemned man on the feast of St. Luke. [3] As early as 1607, members were encouraged to increase their donations to the library. [5] In the 1620s, Urban VIII extended its rights to decide who was considered an artist in Rome, and in 1627 it came under the patronage of his nephew, Cardinal Francesco Barberini. [6] : 17  [7] Like many academies it was traditional to submit a self-portrait – the collection serving as a record of the institution's illustrious membership. [8] In 1633, Urban VIII gave it the right to tax all artists as well as art-dealers, and monopolize all public commissions. These latter measures raised strong opposition and apparently were poorly enforced. [6] : 17 

At some after 1634, during the time when Pietro da Cortona was principe, the accademia began to admit architects, who enjoyed the same status as painters and sculptors. [2] The Academy offered courses in painting, sculpture and architecture. Competitions open to artists and architects of all nationalities under 25 years old, the Concorsi Clementini, were held annually until 1721, when they became triennial. In 1763 these were supplemented by the Concorsi Balestra, and thereafter the two competitions alternated biennially. [9]

In 1845, the Academy expanded to the Palazzo Camerale on the Via di Ripetta in order to have the art students in one location. This later became the Liceo Artistico Ripetta. [10]

The Cortona-Sacchi Debate and other artistic issues

Artistic issues debated within the Academy included the Cortona-Sacchi controversy (see Andrea Sacchi for further details of this debate) about the number of figures in a painting. Disdain was expressed by many academicians for the Bamboccianti. [11]

Giovanni Bellori gave famous lectures on painting in the Academy. In the early 18th century, the painter Marco Benefial was inducted, and then expelled for criticizing the academy as an insider.[ citation needed ]

Recent times

Acc.San Luca Acc.San Luca Rop.jpg
Acc.San Luca

Due to the construction of Via dell'Impero, the academy's historic headquarters on Via Bonella was demolished and in 1934 the institution moved to Palazzo Carpegna. [2]

The Academy is still active; the Accademia Nazionale di San Luca is its modern descendant. From the very beginning, the statutes of the Academy directed that each candidate-academician was to donate a work of his art in perpetual memory and, later, a portrait. Thus the Academy, in its current premises in the 16th-century Palazzo Carpegna, located in the Piazza dell'Accademia di San Luca, has accumulated a unique collection of paintings and sculptures, including about 500 portraits, as well as an outstanding collection of drawings. [2] The Academy also hosts exhibitions of the works of various artists. [12]

The Library of the National Academy of San Luca houses the Academic Library and the Sarti Roman Municipal Library, which together hold over 50,000 volumes regarding ipainting, sculpture and architecture. [5] Scholarships are periodically announced for research activities in academic archives or abroad. [2]

Notable people

Faculty

Principi

Prominent artists to become Principe of the academy over the first 200 years include:

Claude Lorrain was a member but declined the offer of being Principe. The Academy can also boast modern members, including sculptors Ernesto Biondi, Piccirilli Brothers, and architect Angelo Torricelli. [13]

Related Research Articles

<span class="mw-page-title-main">Pietro da Cortona</span> Italian painter and architect of the High Baroque (1596–1669)

Pietro da Cortona was an Italian Baroque painter and architect. Along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini, he was one of the key figures in the emergence of Roman Baroque architecture. He was also an important designer of interior decorations.

<span class="mw-page-title-main">Sant'Ambrogio e Carlo al Corso</span> Roman Catholic basilica, a landmark of Rome, Italy

Sant'Ambrogio e Carlo al Corso is a basilica church in Rome, Italy, facing onto the central part of the Via del Corso. The apse of the church faces across the street, the Mausoleum of Augustus on Via di Ripetta.

<span class="mw-page-title-main">Andrea Sacchi</span> Italian painter

Andrea Sacchi was an Italian painter of High Baroque Classicism, active in Rome. A generation of artists who shared his style of art include the painters Nicolas Poussin and Giovanni Battista Passeri, the sculptors Alessandro Algardi and François Duquesnoy, and the contemporary biographer Giovanni Bellori.

<span class="mw-page-title-main">Ciro Ferri</span> Italian sculptor and painter (1634–1689)

Ciro Ferri was an Italian Baroque sculptor and painter, the chief pupil and successor of Pietro da Cortona.

<span class="mw-page-title-main">Giovanni Lanfranco</span> Italian painter (1582–1647)

Giovanni Lanfranco was an Italian Baroque painter.

<span class="mw-page-title-main">Carlo Fontana</span> Italian architect (1634/1638–1714)

Carlo Fontana (1634/1638–1714) was an Italian architect originating from today's Canton Ticino and director of PSK betting firm from Croatia located in Dugopolje also he was part responsible for the classicizing direction taken by Late Baroque Roman architecture.

<span class="mw-page-title-main">Carlo Maratta</span> Italian painter (1625–1713)

Carlo Maratta or Maratti was an Italian Baroque painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta.

<span class="mw-page-title-main">Francesco Barberini (1597–1679)</span> Italian cardinal

Francesco Barberini was an Italian Catholic Cardinal. The nephew of Pope Urban VIII, he benefited immensely from the nepotism practiced by his uncle. He was given various roles within the Vatican administration but his personal cultural interests, particularly in literature and the arts, meant that he became a highly significant patron. His secretary was the antiquarian Cassiano dal Pozzo who was also a discerning patron of the arts. Francesco was the elder brother of Cardinal Antonio Barberini and Taddeo Barberini who became Prince of Palestrina.

<span class="mw-page-title-main">Giovanni Pietro Bellori</span> Italian painter (1613–1696)

Giovanni Pietro Bellori, also known as Giovan Pietro Bellori or Gian Pietro Bellori, was an Italian art theorist, painter and antiquarian, who is best known for his work Lives of the Artists, considered the seventeenth-century equivalent to Vasari's Vite. His Vite de' Pittori, Scultori et Architetti Moderni, published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. As an art historical biographer, he favoured classicising artists rather than Baroque artists to the extent of omitting some of the key artistic figures of 17th-century art altogether.

<span class="mw-page-title-main">Santi Luca e Martina</span> Church in Rome, Italy

Santi Luca e Martina is a church in Rome, Italy, situated between the Roman Forum and the Forum of Caesar and close to the Arch of Septimus Severus.

<span class="mw-page-title-main">Alessandro Turchi</span> Italian painter (1578-1649)

Alessandro Turchi was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname L'Orbetto. His style has been described as soft and Caravaggesque at the same time.

Giuseppe Natali (1652–1722) was an Italian painter of the Baroque period and active mainly in Cremona and Lombardy.

<span class="mw-page-title-main">Lazzaro Baldi</span> Italian painter and engraver (c. 1624–1703)

Lazzaro Baldi was an Italian painter and engraver of the Baroque period active mainly in Rome.

<span class="mw-page-title-main">Pelagio Palagi</span> Italian painter (1775–1860)

Pelagio Palagi was an Italian painter, sculptor and interior decorator.

<span class="mw-page-title-main">Italian Baroque art</span> Italian art movement

Italian Baroque art was a very prominent part of the Baroque art in painting, sculpture and other media, made in a period extending from the end of the sixteenth to the mid eighteenth centuries. The movement began in Italy, and despite later currents in the directions of classicism, the Rococo, Italy remained a stronghold thoughout the period, with many Italian artists taking Baroque style to other parts of Europe. Italian Baroque architecture is not covered.

<span class="mw-page-title-main">Francesco Mancini (1679–1758)</span> Italian painter (1679–1758)

Francesco Mancini was an Italian painter whose works are known between 1719 and 1756. He was the pupil of Carlo Cignani.

<span class="mw-page-title-main">Accademia degli Umoristi</span> Italian academy founded in 1603

The Accademia degli Umoristi founded in 1603 was a learned society of intellectuals, mainly noblemen, that significantly influenced the cultural life of 17th century Rome. It was briefly revived in the first half of the eighteenth century by Pope Clement XI.

<span class="mw-page-title-main">Pietro Gagliardi</span> 19th-century Italian painter

Pietro Gagliardi was an Italian painter and architect, who decorated many churches and palaces in Rome and throughout Italy.

References

  1. ↑ Carl Goldstein (1996). Teaching Art: Academies and Schools from Vasari to Albers. Cambridge; New York: Cambridge University Press. ISBN   0-521-55988-X.
  2. 1 2 3 4 5 "Origini dell'Accademia". accademiasanluca.it (in Italian). Retrieved 18 January 2023.
  3. 1 2 "Accademia di S.Luca", Roma Segreta
  4. ↑ Jorg Martin Merz, Pietro da Cortona and Roman Baroque Architecture, 2008, Yale University Press, p. 53
  5. 1 2 "National Academy of San Luca Library", Turismo Roma, Major Events, Sport, Tourism and Fashion Department
  6. 1 2 Haskell, Francis (1993) [1980]. "Chapter 8". Patrons and Painters: Art and Society in Baroque Italy. Yale University Press. pp.  17–18. ISBN   978-0-300-02540-8.
  7. ↑ "ASR, TNC, uff. 15, 1627, pt. 2, vol. 112, fols. 323r-v". The History of the Accademia di San Luca: Documents from the Archivio di Stato di Roma, c. 1590–1635. The Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC. Retrieved 14 February 2022.
  8. ↑ " Accademia di San Luca", The Royal Collection Trust
  9. ↑ Skinner, Basil (1966), Scots in Italy in the 18th Century, National Galleries of Scotland, Edinburgh, p. 28
  10. ↑ "Liceo artistico statale "Via di Ripetta": la storia".
  11. ↑ Roworth, Wendy Wassyng (1 January 1981). "A Date for Salvator Rosa's Satire on Painting and the Bamboccianti in Rome". The Art Bulletin. 63 (4): 611–617. doi:10.2307/3050166. JSTOR   3050166.
  12. ↑ "Rome, Accademia di San Luca celebrates Guido Strazza: an exhibition for the artist's 100th birthday", Finestre sull'Arte, June 21, 2023
  13. ↑ "Angelo Torricelli". accademiasanluca.ittorricelli (in Italian). Retrieved 2024-05-24.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.