Self-Portrait, ca. 1692
|Died||3 January 1705 70) (aged|
Luca Giordano (18 October 1634 – 3 January 1705) was an Italian late Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples and Rome, Florence and Venice, before spending a decade in Spain.
Born in Naples, Giordano was the son of the painter Antonio Giordano.In around 1650 he was apprenticed to Ribera on the recommendation of the viceroy of Naples and his early work was heavily influenced by his teacher. Like Ribera, he painted many half-length figures of philosophers, either imaginary portraits of specific figures, or generic types.
He acquired the nickname Luca fa presto, which translates into "Luca paints quickly." His speed, in design as well as handiwork, and his versatility, which enabled him to imitate other painters deceptively, earned for him two other epithets, "The Thunderbolt" (Fulmine) and "The Proteus" of painting.
Following a period studying in Rome, Parma and Venice, Giordano developed an elaborate Baroque style fusing Venetian and Roman Influences. His mature work combines the ornamental pomp of Paul Veronese with the lively complex schemes, the "grand manner", of Pietro da Cortona. He is also noted for his lively and showy use of colour.
In 1682–1683 Giordano painted various fresco series in Florence, including one in the dome of Corsini Chapel of the Chiesa del Carmine. In the large block occupied by the former Medici palace, he painted the ceiling of the Biblioteca Riccardiana (Allegory of Divine Wisdom) and the long gallery of the Palazzo Medici-Riccardi. The vast frescoes of the latter are contained in the 1670s gallery addition, overlooking the gardens. The planning was overseen by Alessandro Segni and commissioned by Francesco Riccardi. They include the prototypic hagiographic celebration of the Medici family in the center, surrounded by a series of interlocking narratives: allegorical figures (the Cardinal Virtues, the Elements of Nature) and mythological episodes (Neptune and Amphitrita, The Rape of Proserpine, The Triumphal procession of Bacchus, The Death of Adonis, Ceres and Triptolemus).
In 1692 Giordano went to Spain at the invitation of Charles II. He stayed there for ten years, returning to Naples in 1702, following Charles' death. While in Spain, he painted major decorative schemes at the Buen Retiro Palace, El Escorial, the sacristry of Toledo Cathedral, The Royal Palace of Aranjuez. The Allegory of the Golden Fleece, a ca.1697 fresco on the ceiling of the Casón del Buen Retiro ipns one of the possible reasons given for the building having survived when most of the other Bueno Retiro palace complex buildings were demolished in the 1900 Century, now its an annex of the Prado Museum Complex that holds a library for researchers, and can be visited on Sundays. He also painted part of the frescoes at San Antonio de los Alemanes church and many pictures for the court, private patrons and churches.His pupils, Aniello Rossi and Matteo Pacelli, assisted him in Spain.
Giordano was popular at the Spanish court, and the king granted him the title of a "caballero".Luca Giordano Works can be seen all around Madrid, The Prado surely houses the largest compilation of his works. Not far from there The Royal Academy of Fine Arts of San Fernando owns several works of his brush and in the neighboring Thyssen-Bornemisza Museum there is a Judging of Salomon long term loan, belonging to Baroness Carmen Thyssen Private Collection.
After his return to Naples early in 1702, Giordano continued to paint prolifically.Executed in a lighter, less rhetorical style, these late works, prefiguring Rococo, proved influential throughout the eighteenth century, and were admired by Fragonard.
He spent large sums in acts of munificence, and was particularly liberal to poorer artists. One of his maxims was that the good painter is the one whom the public like, and that the public are attracted more by colour than by design.
Giordano had an astonishing facility, which often lead to an impression of superficiality of his works. He left many works in Rome, and far more in Naples. Of the latter, his Christ expelling the Traders from the Temple in the church of the Padri Girolamini, a colossal work, full of expressive "lazzaroni" or beggars from Naples; also the frescoes of the Triumph of Judith at San Martino , and those in the Tesoro della Certosa, including the subject of Moses and the Brazen Serpent; and the cupola paintings in the Church of Santa Brigida. This church contains the artist's own tomb. Other notable examples are the Judgment of Paris in the Berlin Museum, and Christ with the Doctors in the Temple, in the Corsini Gallery of Rome. In later years, he painted influential frescoes for the Cappella Corsini, the Palazzo Medici-Riccardi and other works.
Giordano died in Naples in 1705.
His best pupil in painting was Paolo de Matteis. However, his influence, like his travels and career, were broad and prolific. For example, he is said to have influenced in Venice, Giovan Battista Langetti, Giovanni Coli, and Filippo Gherardi.Other pupils included Juan Antonio Boujas, Nunzio Ferraiuoli (Nunzio degli Afflitti), Ansel Fiammingo (il Franceschitto or Francesquitto), Giovanni Battista Lama, Andrea Miglionico, Giuseppe Simonelli, Andrea Vicenti, Andrea Viso, Ferrante Amendola, Pedro de Calabria, Matteo Pacelli, Francisco Tramulles, Nicolo Maria Rossi, Aniello Rossi, and Raimondo de Dominici.
As a young man, Giordano engraved works with considerable skill, including some of his own paintings, such as the Slaughter of the Priests of Baal. He also painted much on the crystal borderings of looking-glasses, cabinets and others seen in many Italian palaces, and was, in this form of art, the master of Pietro Garofalo.
Giordano has been criticized as being a prolific trader of all styles, and master of none. Michael Levey remarks of him "Giordano was the ideal rococo painter, speedy, prolific, dazzling in colour, assured in draughtsmanship, ever-talented and never touching the fringe of genius."He has been viewed as a proto-Tiepolo, reanimating that grand manner of Cortona in a style that would brighten with Tiepolo.
Giovanni Battista Tiepolo, also known as GiambattistaTiepolo, was an Italian painter and printmaker from the Republic of Venice who painted in the Rococo style, considered important member of the 18th-century Venetian school. He was prolific, and worked not only in Italy, but also in Germany and Spain.
Aniello Falcone was an Italian Baroque painter, active in Naples and noted for his painted depictions of battle scenes. Some sources refer to him as Ancillo Falcone.
Guido Reni was an Italian painter of the Baroque period, although his works showed a classical manner, similar to Simon Vouet, Nicholas Poussin, and Philippe de Champaigne. He painted primarily religious works, but also mythological and allegorical subjects. Active in Rome, Naples, and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of the Carracci.
Benozzo Gozzoli was an Italian Renaissance painter from Florence. A pupil of Fra Angelico, Gozzoli is best known for a series of murals in the Magi Chapel of the Palazzo Medici-Riccardi, depicting festive, vibrant processions with fine attention to detail and a pronounced International Gothic influence. The chapel's fresco cycle reveals a new Renaissance interest in nature with its realistic depiction of landscapes and vivid human portraits. Gozzoli is considered one of the most prolific fresco painters of his generation. While he was mainly active in Tuscany, he also worked in Umbria and Rome.
Jusepe de Ribera was a Spanish Valencian Tenebrist painter and printmaker, also known as José de Ribera and Josep de Ribera. He also was called Lo Spagnoletto by his contemporaries and early writers. Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy.
Francesco Albani or Albano was an Italian Baroque painter who was active in Bologna (1591–1600), Rome (1600–1609), Bologna (1609), Viterbo (1609–1610), Bologna (1610), Rome (1610–1617), Bologna (1618–1660), Mantova (1621–1622), Roma (1623–1625) and Florence (1633).
Agnolo di Cosimo, usually known as Bronzino or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, may refer to his relatively dark skin or reddish hair.
Corrado Giaquinto was an Italian Rococo painter.
The Palazzo Medici, also called the Palazzo Medici Riccardi after the later family that acquired and expanded it, is a Renaissance palace located in Florence, Italy. It is the seat of the Metropolitan City of Florence and a museum.
Viviano Codazzi was an Italian architectural painter who was active during the Baroque period. He is known for his architectural paintings, capricci, compositions with ruins, and some vedute. He worked in Naples and Rome. He is known in older sources as Viviano Codagora or il Codagora.
The Church and Convent of the Girolamini or Gerolamini is a church and ecclesiastical complex in Naples, Italy. It is located directly across from the Cathedral of Naples on via Duomo. The facade is across the homonymous piazza and street from Santa Maria della Colonna. It is one block west of Via Duomo.
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.
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, active in Rome and Tuscany.
Rinaldo Botti was an Italian painter active in the Baroque period. He was a pupil of Jacopo Chiavistelli, and specialized in quadratura. He collaborated with Andrea Landini in frescoing some salons of Villas belonging to the Corsini family. He painted the ceiling of Santa Elisabetta delle Convertite.
Giuseppe Zocchi was an Italian painter and printmaker active in Florence and best known for his vedute of the city.
Buen Retiro Palace in Madrid was a large palace complex designed by the architect Alonso Carbonell and built on the orders of Philip IV of Spain as a secondary residence and place of recreation. It was built in what was then the eastern limits of the city of Madrid. Today, what little remains of its buildings and gardens forms the Retiro Park.
Italian Baroque art is a term that is used here to refer to Italian painting and sculpture in the Baroque manner executed over a period that extended from the late sixteenth to the mid eighteenth centuries.
The Madonna of Palazzo Medici-Riccardi is a painting by the Italian Renaissance artist Filippo Lippi. It is housed in the Palazzo Medici-Riccardi of Florence, central Italy.
Giacinto Diano or Diana was an Italian painter, active in Southern Italy in a style that mixes Rococo and Neoclassicism.
|Wikimedia Commons has media related to Luca Giordano .|