Teodoro Matteini

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Teodoro Matteini (Pistoia, 1753 - Venice, 1831) was an Italian painter, mainly of historical and religious subjects in a Neoclassical style.

Pistoia Comune in Tuscany, Italy

Pistoia is a city and comune in the Italian region of Tuscany, the capital of a province of the same name, located about 30 kilometres (19 mi) west and north of Florence and is crossed by the Ombrone Pistoiese, a tributary of the River Arno. It is a typical Italian medieval city, and it attracts many tourists, especially in the summer. The city is famous throughout Europe for its plant nurseries.

Venice Comune in Veneto, Italy

Venice is a city in northeastern Italy and the capital of the Veneto region.

Italy republic in Southern Europe

Italy, officially the Italian Republic, is a country in Europe. Located in the middle of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia and the enclaved microstates San Marino and Vatican City. Italy covers an area of 301,340 km2 (116,350 sq mi) and has a largely temperate seasonal and Mediterranean climate. With around 61 million inhabitants, it is the fourth-most populous EU member state and the most populous country in Southern Europe.

Biography

His father, Ippolito Matteini, born 1720, was a decorative painter and was the teachier of the design in the public schools of Pistoia. He was Tedoro's first influence.Under the patronage of, he moved to Rome to work in the studio of Domenico Corvi, and later worked with Anton Raphael Mengs, until he could establish his own studio. He painted in Rome for San Lorenzo in Lucina. [1]

Domenico Corvi Italian painter

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Anton Raphael Mengs German-Bohemian painter

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San Lorenzo in Lucina church

The Minor Basilica of St. Lawrence in Lucina is a Roman Catholic parish, titular church, and minor basilica in central Rome, Italy. The basilica is located in Piazza di San Lorenzo in Lucina in the Rione Colonna, circa two blocks behind the Palazzo Montecitorio, proximate to the Via del Corso.

He was active in Bergamo, Milan, and Venice. In 1802 at Venice, he was elected professor of painting at the Academy of Fine Arts, and in 1804, or design and in 1897 became professor in the new Academy. Matteini was able to restore to the Academy a large collection of stucco and terracotta models collected by the abate Filippo Farsetti.

Filippo Vincenzo Farsetti, was an Italian art collector and patron of the arts.

He is best known for his many pupils, including Giovanni Andrea Darif of Udine, Bartolomeo Ferracina of Bassano, Giovanni Busato of Vicenza, Murari of Florence, Sebastiano Santi of Murano, Francesco Hayez and Cosroe Dusi of Venice, Giovanni De Min of Belluno, Michele Fanolli of Cittadella, and Lodovico Lipparini of Bologna.

Giovanni Andrea Darif was an Italian painter, mainly of religious subjects and portraits in a Neoclassical style. He was active in Udine, Milan and the Comasco.

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Among his masterworks are a painting of Angelica and Medoro , of which Raphael Morghen made a reproductive print. [2]

Angelica and Medoro two characters from the 16th-century Italian epic Orlando Furioso by Ludovico Ariosto

Angelica and Medoro was a popular subject for Romantic painters, composers and writers from the 16th until the 19th century. Angelica and Medoro are two characters from the 16th-century Italian epic Orlando Furioso by Ludovico Ariosto. Angelica was an Asian princess at the court of Charlemagne who fell in love with the Saracen knight Medoro, and eloped with him to China. While in the original work, Orlando was the main character, many adaptations focused purely or mainly on the love between Angelica and Medoro, with the favourite scenes in paintings being Angelica nursing Medoro, and Angelica carving their names into a tree, a scene which was the theme of at least 25 paintings between 1577 and 1825.

Raffaello Sanzio Morghen Italian engraver

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References

  1. Guida di Pistoia per gli amanti delle belle arti con notizie, by Francesco Tolomei, 1821, page 186.
  2. Della letteratura veneziana: del secolo XIX, by Count Filippo Maria Nani-Mocenigo, page 197.