Domenico Pedrini (Bologna, 1728 - Bologna, 1800) [1] was an Italian painter. Fiercely provincial in his geographic activity, Pedrini's works were mainly completed in and around Bologna, and yet his atavistic style strayed far afield into Bologna's strong Baroque ancestry.
He mainly painted for Bolognese churches including the church of San Bartolomeo (Madonna Addolorata), [2] the Sanctuary of Santa Maria della Vita (St Joseph with the Christ Child), and the church of San Sigismondo (St Sigismund of Burgundy Adoring the Sacred Heart, main altarpiece). [3] In the 1770s, he painted the altarpiece depicting Virgin and Child with St Cajetan for the church of Santa Maria delle Grazie alla Cavalleria in Bologna. Various quadrature and ornamental frescoes were completed in the Bolognese palaces of Cospi Ferretti, Fava-Simonetti and Tanari. Pedrini's allegorical ceiling paintings in the Palazzo Malvezzo, were likely to have been executed under the direction of Ubaldo Gandolfi. [4] His son Filippo Pedrini was also a painter, who trained and worked with him. [5] Felice Giani was one of his pupils.
At the Palazzo Spalletti-Trivelli in Reggio Emilia, there are three works by Pedrini, St Sebastian, Blessing of Jacob, and Expulsion of Hagar. [6] There is a San Francesco di Sales e San Francesco di Paola at the Sanctuary of Santa Maria delle Grazie in Pavia. [7]
His son, Filippo Pedrini, was also a painter and became a professor at the Accademia Clementina.
Sebastiano Conca was an Italian painter.
Giovanni Antonio Burrini was a Bolognese painter of Late-Baroque or Rococo style. After an apprenticeship with Domenico Maria Canuti, he went to work under Lorenzo Pasinelli with fellow student, Giovanni Gioseffo dal Sole. He became an early friend and often close collaborator with Giuseppe Maria Crespi, with whom he shared a studio. He became a rival and competitor with Sebastiano Ricci. He painted in Turin for the Carignano family and Novellara. In 1709, he was one of the founding members of the Accademia Clementina in Bologna.
Giovanni Gioseffo dal Sole was an Italian painter and engraver from Bologna, active in the late-Baroque period. Upon the death of Carlo Cignani, Gioseffo dal Sole became among the most prominent painters in Bologna, described as the Guido Moderno.
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Cesare Mariani was an Italian painter and architect of the late-19th century, active in Rome and Ascoli Piceno.
Pietro Dandini was an Italian painter of the Baroque period, active mainly in Florence.
Girolamo Donnini was an Italian painter of the Baroque period, born in the town of Correggio, Emilia-Romagna. He was a pupil of the painters Francesco Stringa in Modena, and then of Giovanni Gioseffo dal Sole in Bologna, then traveled to Forlì to work with Carlo Cignani.
Giuseppe Pedretti was an Italian painter of the late-Baroque or Rococo period, active mainly in Bologna.
Antonio Randa was an Italian painter of the classicist period, active in Ferrara, Modena, Rovigo, Florence, Comacchio and his native Bologna.
Gaetano Alemani was an Italian painter, active mainly in Bologna in the architectural and ornamental painting (quadratura) for the decoration of churches and theatres, as well as a scenic designer.
Jacopo Alessandro Calvi was an Italian painter and art critic who painted sacred and historical subjects in a late-Baroque style.
The church of Santa Maria Maddalena is found in central Bologna, Italy.
Pier Paolo Varotti was an Italian painter, active depicting sacred and historical subjects in a late-Baroque or Rococo style.
Antonio Bonetti (1710–1787) was an Italian painter, active mainly in Bologna in quadratura painting.
Galgano Perpignani was an Italian painter, active in painted sacred and mythologic subjects.
Pietro Scandellari (1711–1789) was an Italian painter and scenic designer.
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Palazzo Spalletti-Trivelli is a palace located atVia Emilia A San Pietro #2, corner with Via San Nicolò, in the center of the city of Reggio Emilia, region of Emilia Romagna, Italy. The building now belongs to the Credito Emiliano (Credem) bank, and owns the art collection now in the palace.
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