The Banquet of the Rich Glutton | |
---|---|
Artist | Mattia Preti |
Year | c. 1665 |
Medium | Oil on canvas |
Dimensions | 148 cm× 200 cm(58 in× 79 in) |
Location | Galleria Nazionale d'Arte Antica, Rome |
The Banquet of a Rich Glutton is an oil on canvas painting by the Italian Baroque painter Mattia Preti, executed c. 1665. It is housed in the Pinacoteca of the Galleria Nazionale d'Arte Antica (Palazzo Barberini), in Rome.
The painting was likely commissioned by Antonio Caputo, a Neapolitan merchant from Preti during his stay in Naples. It was likely a companion piece to the Banquet of Absalom now hanging in the Museo di Capodimonte.
The subject of this painting derives from the parable of the rich man and Lazarus found in the gospel of Luke 16: 19–31. The name Epulone has been attached in Italy to the rich man, but also generically refers to a feaster (with pejorative gluttonous suggestion). The etymology of the word comes from a banquet sometime prepared in honor of the gods. The painting depicts a rich man after completion of his meal, with empty plates, surrounded by servants, while in the background, is the beggar Lazarus.
The painting was purchased in 1895 from a Monte di Pietà, where such a painting would have resonated as both a memento mori and counsel towards charity. [1] The painting would have been thematically antithetical to the still life works depicting a cornucopia of a contemporary rich man's kitchen.
Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina, was an Italian painter from Messina, active during the Italian Early Renaissance.
Il Sodoma was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Il Sodoma painted in a manner that superimposed the High Renaissance style of early 16th-century Rome onto the traditions of the provincial Sienese school; he spent the bulk of his professional life in Siena, with two periods in Rome.
Domenico Fetti was an Italian Baroque painter who was active mainly in Rome, Mantua and Venice.
St John's Co-Cathedral is a Catholic co-cathedral in Valletta, Malta, dedicated to Saint John the Baptist. It was built by the Order of St. John between 1573 and 1578, having been commissioned by Grand Master Jean de la Cassière as the Conventual Church of Saint John.
The rich man and Lazarus is a parable of Jesus from the 16th chapter of the Gospel of Luke. Speaking to his disciples and some Pharisees, Jesus tells of an unnamed rich man and a beggar named Lazarus. When both die, the rich man goes to Hades and implores Abraham to send Lazarus from his bosom to warn the rich man's family from sharing his fate. Abraham replies, "If they do not listen to Moses and the Prophets, they will not be convinced even if someone rises from the dead."
The Galleria Nazionale d'Arte Antica or National Gallery of Ancient Art is an art museum in Rome, Italy. It is the principal national collection of older paintings in Rome – mostly from before 1800; it does not hold any antiquities. It has two sites: the Palazzo Barberini and the Palazzo Corsini.
Mattia Preti was an Italian Baroque artist who worked in Italy and Malta. He was appointed a Member of the Order of Saint John.
The Sarcophagus of the Spouses is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic Period. The Etruscans were well known for their terracotta sculptures and funerary art, largely sarcophagi and urns. The sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus that was found at the Banditaccia necropolis in Caere and is now located in the National Etruscan Museum of Villa Giulia, Rome.
Leonello Spada was an Italian painter of the Baroque period, active in Rome and his native city of Bologna, where he became known as one of the followers of Caravaggio.
Francesco Cozza was an Italian painter of the Baroque period.
The Tomb of Orcus, sometimes called the Tomb of Murina, is a 4th-century BC Etruscan hypogeum in Tarquinia, Italy. Discovered in 1868, it displays Hellenistic influences in its remarkable murals, which include the portrait of Velia Velcha, an Etruscan noblewoman, and the only known pictorial representation of the daemon Tuchulcha. In general, the murals are noted for their depiction of death, evil, and unhappiness.
Andrea del Sarto was an Italian painter from Florence, whose career flourished during the High Renaissance and early Mannerism. He was known as an outstanding fresco decorator, painter of altarpieces, portraitist, draughtsman, and colorist. Although highly regarded during his lifetime as an artist senza errori, his renown was eclipsed after his death by that of his contemporaries Leonardo da Vinci, Michelangelo, and Raphael.
The Tomb of the Leopards is an Etruscan burial chamber so called for the confronted leopards painted above a banquet scene. The tomb is located within the Necropolis of Monterozzi, near Tarquinia, Lazio, Italy, and dates to around 470–450 BC. The painting is one of the best-preserved murals of Tarquinia, and is known for "its lively coloring, and its animated depictions rich with gestures," and is influenced by the Greek-Attic art of the first quarter of the fifth century BC.
The Feast of Herod refers to the episode in the Gospels following the Beheading of St. John the Baptist, when Salome presents his head to her parents. The account in the Book of Mark describes Herod Antipas holding a banquet on his birthday for his high officials and military commanders, and leading men of Galilee. At this banquet, Herod's daughter dances before Herod, who is pleased and offers her anything she asks for in return. The girl asks her mother what she should request, and she is told to demand the head of John the Baptist. Reluctantly, Herod orders the beheading of John, and John's head is delivered to her, at her request, "on a platter."
The Catacombs of San Sebastiano are a hypogeum cemetery in Rome, Italy, rising along Via Appia Antica, in the Ardeatino Quarter. It is one of the very few Christian burial places that has always been accessible. The first of the former four floors is now almost completely destroyed.
The Church of St Catherine of Alexandria, commonly known as the Church of St Catherine of Italy is a Roman Catholic church in Valletta, Malta. It was built by the Hospitaller Langue of Italy and it serves as the parish church of the Italian community of Malta.
Judith and Holofernes is an oil on canvas painting by Italian artist Mattia Preti, datable to around 1653–1656. It is held at the Museo di Capodimonte, in Naples.
The Banquet of Absalom is an oil on canvas painting by Mattia Preti, created in c. 1660–1665, now in the Museo nazionale di Capodimonte in Naples. It illustrates a passage from chapters 13 and 14 of 2 Samuel in the Old Testament, in which King David's son Absalom avenges the rape of Absalom's sister Tamar two years earlier by inviting her rapist Amnon to a feast, getting him drunk and then killing him.
Belshazzar's Feast is a circa 1660-1665 oil on canvas painting by Mattia Preti, now in the Museo nazionale di Capodimonte in Naples. It shows a scene from chapter 5 of the Book of Daniel.
Aeneas Fleeing Troy or The Flight From Troy is an oil-on-canvas painting executed c. 1640–1645 by the Italian Baroque artist Mattia Preti, now in the Galleria nazionale di arte antica in Palazzo Barberini in Rome. It shows Aeneas carrying his father Anchises and being led by his young son Ascanius as told in Book 2 of the Aeneid. It first appears in the written record in an 1824 inventory of Giovanni Torlonia's collections, which misattributed it to Simon Vouet, with later inventories misattributing it to Alessandro Turchi and the correct attribution only restored in 1916 by Roberto Longhi.