Giovanni Maria Ciocchi [1] (Florence, 23 March 1658 - Florence, 1725) was an Italian painter and art critic, active during the Baroque period. He was born into a family of artists, and it is not clear if he is related to Giovanni Maria Ciocchi del Monte (1487 – 1555) from Perugia, who became Pope Julius III. it is not clear that Giovanni Maria is related to the 16th century painter Ulisse Ciocchi.
Giovanni Maria, was the second son of Clemente, a sculptor in Florence. His older brother Michele, was a building engineer, and Michele's son, Giovanni Filippo (died 1770), was an architect. [2] Giovanni Maria trained under his brother-in-law, Pier Dandini. In the Florentine tradition, who gave great weight to prior masters, Giovanni was engaged in making copies of works in the ducal courts of Italy, including travels to Venice, Parma, Modena, Rome, and Naples. Francesco Maria Gabburri said of Giovanni Maria that during his travels to the latter two cities, he did also create works of his own design. In 1705, Giovanni Maria became a teacher at the Academy of the Art of Design of Florence.
He completed the frescoes in the ceiling of the church of Santa Maria degli Angiolini, Florence, depicting St Michael Archangel in Glory. He also painted two lunettes in the library of the convent of the Annunziata. He painted altarpieces for Santa Maria in Campo; for San Jacopo sopr'Arno, in the latter depicting a Christ appearing to St Anthony Abbot (circa 1709); and for the church of Santa Lucia dei Magnoli, depicting the Martyrdom of the Santa Lucia (circa 1712–15). [3] He also frescoed stanza in the Palazzo Mansi of Lucca. [4]
Late in life, Giovanni Maria went blind, and he wrote a book which discussed his ideas about art. La Pittura in Parnaso [5] Published posthumously in 1725, the work was dedicated to Marquis Neri Guadagni. This work like his painting, and much of contemporary Florentine art, was an overly-erudite exercise in cultural analysis.
The Pazzi were a powerful family in the Republic of Florence. Their main trade during the fifteenth century was banking. In the aftermath of the Pazzi conspiracy in 1478, members of the family were banished from Florence and their property was confiscated; the family name and coat-of-arms were permanently suppressed by order of the Signoria.
Domenico di Michelino (1417–1491) was an Italian Renaissance painter who was born and died in Florence. His birth name was Domenico di Francesco. The patronymic "di Michelino" was adopted in honour of his teacher, the cassone painter Michelino di Benedetto, by whom no works have been identified. Giorgio Vasari reports that Domenico was also a pupil of Fra Angelico, whose influence is reflected in many of Domenico's paintings along with that of Filippo Lippi and Pesellino.
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism.
Ridolfo di Domenico Bigordi, better known as Ridolfo Ghirlandaio was an Italian Renaissance painter active mainly in Florence. He was the son of Domenico Ghirlandaio.
Domenico Passignano, born DomenicoCresti or Crespi, was an Italian painter of a late-Renaissance or Counter-Maniera (Counter-Mannerism) style that emerged in Florence towards the end of the 16th century.
Giovanni Domenico Ferretti (Giandomenico), also called Giandomenico d'Imola, was an Italian Rococo style painter from Florence. According to the contemporary Giovanni Camillo Sagrestani, Ferretti was a pupil of the Bolognese painter Giuseppe Maria Crespi. Others say he worked with painter Giovanni Gioseffo dal Sole.
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.
Giuseppe Angeli was an Italian painter of the late-Baroque, known for depicting both genre and religious subjects.
Cesare Mariani was an Italian painter and architect of the late-19th century, active in Rome and Ascoli Piceno.
Giuseppe Nicola Nasini was an Italian painter of the Baroque period and active in Rome and Tuscany.
Pietro Dandini was an Italian painter of the Baroque period, active mainly in Florence.
Giuseppe Zocchi was an Italian painter and printmaker active in Florence and best known for his vedute of the city.
Jacopo Zoboli, also known by Giacomo, was an Italian painter of the Baroque style.
Gerolamo Mengozzi Colonna was an Italian painter, mostly of frescoed quadratura.
Fedele Gioffredo Fischetti was an Italian painter of the Neoclassical period. Most of his works are frescoes of an allegorical or mythological nature.
Giovanni Rucellai, known by his name with the patronymic Giovanni di Paolo Rucellai, was a member of a wealthy family of wool merchants in Renaissance Florence, in Tuscany, Italy. He held political posts under Cosimo and Lorenzo de' Medici, but is principally remembered for building Palazzo Rucellai and the Rucellai Sepulchre, for his patronage of the marble façade of the church of Santa Maria Novella, and as author of an important Zibaldone. He was the father of Bernardo Rucellai (1448–1514) and grandfather of Giovanni di Bernardo Rucellai (1475–1525).
Giovanni De Min was an Italian painter and engraver, active in a Neoclassic style.
San Domenico is a Romanesque and Gothic-style, Roman Catholic church located in the Piazza of the same name, with a north flank of the nave parallel to Corso Silvani Fedi, in Pistoia, region of Tuscany, Italy.
Giovanni Battista Mengardi, or Giambattista Mengardi was an Italian painter and art restorer.
Domenico Maria Manni was an Italian polymath, editor, and publisher.