Vicente Giner (c. 1636-1681) was a Spanish canon and painter of architectural paintings, capricci and vedute , who was active in Rome. He was a frequent collaborator of the prominent architectural painter Viviano Codazzi in Rome.
Vicente Giner (c. 1636-1681) was a Spanish canon and painter of architectural paintings, capricci and vedute , who was active in Rome. He was a frequent collaborator of the prominent architectural painter Viviano Codazzi in Rome.
Vicente Giner was born around 1636 in the town of Castéllon de la Plana, near Valencia. Here he studied painting and also became a Catholic priest. [1]
Vicente Giner was already in Rome in May 1672, as at that time he is recorded granting his nephew José Giner a general power to sell on his behalf any of his assets. His nephew, the son of a brother of unknown name, appears on the document as absent. This is regarded as evidence that at the time he had already left Spain and was therefore granting his nephew full authority to manage his estate in Spain. Giner stated that at the time he was living at a house in the Roman administrative district of Campo Marzio. [2]
Giner was closely linked with and possibly studied with the prominent architectural painter Viviano Codazzi who had moved to Rome from Naples in 1648. [3] He possibly painted figures in the architectural compositions of Codazzi. [4] He also painted the figures for Codazzi's son Niccolò while the latter worked in his father's studio. This collaboration is evidenced by the Saint Peter Baptizing the centurion and the Arch of Titus (At Jean-François Heim). [5]
In 1680 the artist lived in the Via Gregoriana. In that year, he was one of the leading signatories, together with fellow artist Sebastián Muñoz, of a petition from a group of Spanish painters directed to Gaspar Méndez de Haro, 7th Marquis of Carpio, the Spanish Ambassador to Rome. This petition requested that an Academy for Spanish artists, along the lines of the French academy, be created in Rome with the celebrated painter Francisco Herrera the Younger as its director. The Ambassador who was himself one of Europe’s most important art collectors at that time, received the request with great pleasure. The request was rejected by the Spanish Crown stating insufficiency of funds at that time.
He died on 5 September 1681 and was buried in the neighboring parish of Sant Andrea delle Fratte. [2]
The work of Vicente Giner is still relatively unexplored. To date only about a dozen works have been attributed to him. Signed paintings by him are even rarer. The signed Perspective with port is in the collection of the Bank of Spain's collection and another signed Interior of a basilica with musicians in concert around a table in the Museu de Belles Arts de València.
Giner specialised in painting large and dramatic architectural compositions animated by numerous figures. [2] His works depict monumental buildings, monuments and ruins from Antiquity. The artist did not strive to depict existing scenes realistically but combined existing and imaginary elements to arrive at a balanced composition.
He was evidently inspired by the work of his contemporary Viviano Codazzi. Giner may have worked in Codazzi's workshop and they collaborated on a number of occasions although there is no documentary evidence to support this. [2] Some of his paintings were formerly attributed to Viviano Codazzi, including the Architectural Capriccio with Figures and an Obelisk and the Architectural Capriccio (both in the collections of the National Trust). [6] The re-attribution of the latter was made by art historian David Marshall in 1987 who argued that the composition was clearly dependent upon Codazzi's paintings of the 1660s, but was executed in a flatter, dull and less precise manner. The figures were painted clearly by another hand from that of the painter of the architecture. [7]
His compositions often include figures which represent a religious scene but without attempting to depict a particular biblical episode. As is the case with Viviano Codazzi, several of compositions also include daily scenes in which elegantly dressed personages appear together with simply dressed common people. This shows his debt to the genre works of the group of genre painters active in Rome and known as the Bamboccianti who depicted Roman scenes with ordinary people. The careful physiognomies and gestures of his figures also show his familiarity with the figures of Cornelis de Wael and Pandolfo Reschi. His compositions regularly used compositional and architectonical schemes borrowed from Viviano Codazzi. [4]
Giner's understanding of perspective is particularly well developed and together with the colourful figures and sense of light his paintings are instantly recognisable.
Giovanni Antonio Canal, commonly known as Canaletto, was an Italian painter of city views or vedute, of Venice, Rome, and London. He also painted imaginary views, although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle. He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762.
Giovanni Paolo Panini or Pannini was a painter and architect who worked in Rome and is primarily known as one of the vedutisti. As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are his view of the interior of the Pantheon, and his vedute—paintings of picture galleries containing views of Rome. Most of his works, especially those of ruins, have a fanciful and unreal embellishment characteristic of capriccio themes. In this they resemble the capricci of Marco Ricci. Panini also painted portraits, including one of Pope Benedict XIV.
A veduta is a highly detailed, usually large-scale painting or, more often, print of a cityscape or some other vista. The painters of vedute are referred to as vedutisti.
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.
Michelangelo Cerquozzi, known as Michelangelo delle Battaglie was an Italian Baroque painter known for his genre scenes, battle pictures, small religious and mythological works and still lifes. His genre scenes were influenced by the work of the Flemish and Dutch genre artists referred to as the Bamboccianti active in Rome who created small cabinet paintings and prints of the everyday life of the lower classes in Rome and its countryside. One of the leading battle painters active in Italy in the first half of the 17th century, Michelangelo Cerquozzi earned the nickname 'Michelangelo delle Battaglie'.
Jan Miel was a Flemish painter and engraver who was active in Italy. He initially formed part of the circle of Dutch and Flemish genre painters in Rome who are referred to as the 'Bamboccianti' and were known for their scenes depicting the lower classes in Rome. He later developed away from the Bamboccianti style and painted history subjects in a classicising style.
Pietro Paolini, called il Lucchese was an Italian painter of the Baroque period. Working in Rome, Venice and finally his native Lucca, he was a follower of Caravaggio to whose work he responded in a very personal manner. He founded an Academy in his hometown, which formed the next generation of painters of Lucca.
Filippo Gagliardi was an Italian painter of the Baroque period, active mainly in Rome. He collaborated with Filippo Lauri, Andrea Sacchi and Giovanni Benedetto Castiglione. He also helped in the renovation of San Martino ai Monti (1647–54). He contributed illustrated architectural perspectives to Ferrari's Hesperides (1646). He was a member of the Accademia di San Luca from at least 1638 and became principe in 1656–58. He was also a member of the Congregazione dei Virtuosi del Pantheon. He produced numerous architectural paintings showing grand structures in strong chiaroscuro, including a set of four in the Palazzo Rospigliosi-Pallavicini in Rome, with figure by the Genoese painter Giovanni Benedetto Castiglione, and two in the Musée de Peinture e de Sculpture, Grenoble. He was also known as 'Filippo delle Prospettive'. His works are sometimes confused with those by Viviano Codazzi. He also appears to confused with Giovanni Francesco Gagliardi.
JohannesLingelbach (1622–1674) was a Dutch Golden Age painter, associated with the second generation of Bambocciate, a group of genre painters working in Rome from 1625–1700.
Leonardo Coccorante (1680–1750) was an Italian painter known for his capricci depicting imaginary landscapes with ruins of classical architecture.
In painting, a capriccio means an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often fantastical combinations. These paintings may also include staffage (figures). Capriccio falls under the more general term of landscape painting. The term is also used for other artworks with an element of fantasy. This style of painting was introduced in the Renaissance and continued into the Baroque.
Willem Reuter was a Flemish painter of cityscapes, genre paintings and history paintings who was primarily active in Rome, where he was known as Guglielmo Reuter. He was part of the circle of Dutch and Flemish genre painters in Rome who are referred to as the 'Bamboccianti' and were known for their scenes depicting the lower classes in Rome.
Architectural painting is a form of genre painting where the predominant focus lies on architecture, both outdoors views and interiors. While architecture was present in many of the earliest paintings and illuminations, it was mainly used as background or to provide rhythm to a painting. In the Renaissance, architecture was used to emphasize the perspective and create a sense of depth, like in Masaccio's Holy Trinity from the 1420s.
Laureys a Castro or Lourenço A. Castro was a Flemish painter of marine views and portraits who is mainly known for his work carried out in England roughly between 1672 and 1700. He was regarded as a leading marine painter in England.
Jacobus Ferdinandus Saey or Jacob Ferdinand Saeys was a Flemish painter who specialized in architectural paintings depicting gallant companies amidst imaginary Renaissance and Baroque palaces and buildings. After starting his career in Flanders, he moved to Vienna, where he worked for the rest of his life.
Alessandro Salucci was an Italian painter who played an important role in the development of the genre of cityscapes (vedute) of Rome. He created capricci, i.e. imaginary architectural perspectives and harbour views, in which the figures were often executed by another artist.
Niccolò Codazzi was an Italian painter of architectural paintings, capricci and vedute. He also created decorative elements in fresco's as a painter of 'quadratura'. A son of the prominent architectural painter Viviano Codazzi, he trained with his father and was active in Rome, Paris and Genoa.
Ascanio Luciano or Ascanio Luciani was an Italian architectural painter who was active during the Baroque period. He is known for his architectural paintings, capricci, compositions with figures among ruins, and some vedute. He worked in Naples throughout his career. He is regarded as playing an important a hinge role in the genre of architectural capricci between leading founders of the genre such as Viviano Codazzi and François de Nomé and the 18th-century specialists of the genre.
Jan Baptist van der Straeten was a Flemish painter who specialized in architectural paintings depicting gallant companies amidst imaginary Renaissance and Baroque palaces and buildings.
Vicente Castelló was a Spanish painter in the Baroque style. He was a son-in-law of Francisco Ribalta, whose painting style was similar; as was that of his brother-in-law, Juan Ribalta, leading to a misattribution of many of his paintings. He was virtually forgotten until these errors were corrected.
