Tommaso Salini (1575 – 13 September 1625), also known as Mao Salini, was an Italian painter of the early-Baroque period, active in Rome. He is best remembered for defending his friend, Giovanni Baglione, in his libel suit against Caravaggio and other painters in his circle. Baglioni describes his still life paintings. He joined the Accademia di San Luca in 1605.Salini is a frequently forgotten Baroque artist who fell under the spell of Caravaggio, despite having a tempestuous relationship with the great painter.
Salini, known as "Mao", was a friend of Giovanni Baglione, the Italian art biographer, who included Salini in his Le vite de’ pittori. Art historians have often shied away from exploring Salini’s career because the canvases that have carried his name seem stylistically dissimilar. The recent tendency has been to attribute these works to anonymous Pseudo-Salini painters. In order for Salini’s oeuvre to be presented with accuracy, connoisseurs have had to inspect the original works that Baglione mentions as being by Salini’s hand, as well as the pictures that have been successfully attributed to him.
Michelangelo Merisida Caravaggio was an Italian painter active in Rome for most of his artistic life. During the final four years of his life he moved between Naples, Malta, and Sicily until his death. His paintings combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, which had a formative influence on Baroque painting.
The Caravaggisti were stylistic followers of the late 16th-century Italian Baroque painter Caravaggio. His influence on the new Baroque style that eventually emerged from Mannerism was profound. Caravaggio never established a workshop as most other painters did, and thus had no school to spread his techniques. Nor did he ever set out his underlying philosophical approach to art, the psychological realism which can only be deduced from his surviving work. But it can be seen directly or indirectly in the work of Rubens, Jusepe de Ribera, Bernini, and Rembrandt. Famous while he lived, Caravaggio himself was forgotten almost immediately after his death. Many of his paintings were reascribed to his followers, such as The Taking of Christ, which was attributed to the Dutch painter Gerrit van Honthorst until 1990. It was only in the 20th century that his importance to the development of Western art was rediscovered. In the 1920s Roberto Longhi once more placed him in the European tradition: "Ribera, Vermeer, La Tour and Rembrandt could never have existed without him. And the art of Delacroix, Courbet and Manet would have been utterly different". The influential Bernard Berenson stated: "With the exception of Michelangelo, no other Italian painter exercised so great an influence."
Orazio Lomi Gentileschi (1563–1639) was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists. After 1600, he came under the influence of the more naturalistic style of Caravaggio. He received important commissions in Fabriano and Genoa before moving to Paris to the court of Marie de Medici. He spent the last part of his life at the court of Charles I of England. He was the father of the painter Artemisia Gentileschi.
Amor Vincit Omnia is a painting by the Italian Baroque artist Caravaggio.
Giovanni Baglione was an Italian Late Mannerist and Early Baroque painter and art historian. He is best remembered for his acrimonious and damaging involvement with the slightly younger artist Caravaggio and his important collection of biographies of the other artists working in Rome in his lifetime, although there are many works of his in Roman churches and galleries and elsewhere.
The Conversion on the Way to Damascus is a work by Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. Across the chapel is a second Caravaggio depicting the Crucifixion of Saint Peter. On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
The Crucifixion of Saint Peter is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
Death of the Virgin (1606) is a painting completed by the Italian Baroque master Caravaggio. It is a near contemporary with Caravaggio's Madonna with Saint Anne now at the Musée du Louvre.
Bacchus is an oil painting by Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610) commissioned by Cardinal Del Monte. The painting shows a youthful Bacchus reclining in classical fashion with grapes and vine leaves in his hair, fingering the drawstring of his loosely draped robe. On a stone table in front of him is a bowl of fruit and a large carafe of red wine. He holds out a shallow goblet of the same wine, inviting the viewer to join him. The painting is currently held in the Uffizi Gallery in Florence.
Antiveduto Grammatica was a proto-Baroque Italian painter, active near Rome.
Orazio Borgianni was an Italian painter and etcher of the Mannerist and early-Baroque periods. He was the stepbrother of the sculptor and architect Giulio Lasso.
Angelo Caroselli or Carosèlli was an Italian painter of the Baroque period, active mainly in his native Rome. He created religious works, allegories, portraits as well as genre scenes in the vein of the Caravaggisti. He also returned regularly to scenes of witchcraft and sorcery. His style is eclectic style and shows influences principally from Caravaggio and the painters of 'low-life' scenes active in Rome called the Bamboccianti. His work is characterised by its search for originality. This is demonstrated in the potent naturalism and chiaroscuro that characterise his compositions and his preference for depicting colorful characters of contemporary Rome and scenes of witchcraft and musicians. The work of Caroselli was influential on other Caravaggisti such as the Lucchese painter Pietro Paolini and the Dutch painter Dirck van Baburen.
Mario Nuzzi, who went by the pseudonym, Mario de' Fiori was an Italian painter in the Baroque style. His paintings are all based around floral arrangements; hence the name Fiori (flowers).
Tommaso Donini or Tommaso Dovini, called Il Caravaggino was an Italian painter active mainly in Rome. He was previously erroneously referred to as 'Tommaso Luini' as the 17th century artist biographer Giovanni Baglione referred to him as such in his Le Vite de’ Pittori of 1642. Donini painted altarpieces. He was a follower of Caravaggio.
Le Vite de’ Pittori, Scultori et Architetti. Dal Pontificato di Gregorio XII del 1572 in fino a’ tempi di Papa Urbano VIII nel 1642 is an art history book by Giovanni Baglione, first published in 1642. It represents an encyclopedic compendium of biographies of the artists active in Rome during late Mannerism and early Baroque. Baglione was a Late Mannerist and Early Baroque painter and art historian, best remembered for his writings and his acrimonious involvement with the artist Caravaggio, by whom he was nonetheless greatly influenced.
Jean Ducamps, Giovanni di Filippo del Campo or Giovanni del Campo, was a Flemish Baroque painter who spent most of his career in Italy where he enjoyed notoriety for his religious compositions, genre scenes and allegories. He worked in a style that was influenced by Caravaggio and is counted amongst the Northern Caravaggisti.
Prospero Orsi, also referred to as Prosperino delle Grottesche (1560s-1630s) was an Italian painter of the late-Mannerist and early-Baroque period, active mainly in Rome.
Simone del Tintore (1630–1708) was an Italian painter, active in his native Lucca. He is mainly known as a still-life painter but he may also have painted religious subjects.
Giovanni Antonio Galli, also called lo Spadarino, was an Italian Baroque artist who was a member of the Caravaggisti.
The Master of the Gamblers is the notname given to a painter active in Rome and possibly also in Naples in the second and third decade of the 17th century, whose subject matter and style rank him among the Caravaggisti. The artist depicted genre subjects and still life elements in his works in a stark naturalist manner. The identity and nationality of the artist are not known. Art historians have yet to arrive at a unanimous view on the nationality, work location and the oeuvre of the artist. He may have been Italian, but a northern European background has also been proposed.
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