Breve biografia della vita e delle opere di Domenichino, uno dei grandi innovatori dell’arte del Seicento 😉 Nuovo video della serie #artistiin10punti ▼▼CONTINUA SOTTO▼▼
Pittore e disegnatore bolognese, Domenico Zampieri, in arte Domenichino, fu l’allievo preferito di Annibale Carracci e uno dei più importanti sostenitori della tradizione del classicismo bolognese. Dopo aver studiato a bottega dai Carracci, si trasferì a Roma nel 1602 e si unì al gruppo di artisti che lavoravano con Annibale alla decorazione di Palazzo Farnese. Per i primi decenni del Seicento Domenichino fu il pittore più importante a Roma. In questo periodo dipinse numerose pale d’altare ed ebbe molti dei maggiori incarichi decorativi, tra gli altri una serie di scene di vita di Santa Cecilia nella chiesa di San Luigi dei Francesi. La composizione dignitosa delle figure, come in un fregio, riflette i suoi studi sugli arazzi di Raffaello e a sua volta influenzò Poussin.
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Painter and Bolognese artist, Domenico Zampieri, in art Domenichino, was the favorite pupil of Annibale Carracci
and one of the most important supporters of the tradition of Bolognese classicism.
After studying at the Carracci workshop, he moved to Rome in 1602
and joined the group of artists who worked with Annibale to the decoration of Palazzo Farnese.
For the first decades of the 16th century, Domenichino was the most important painter in Rome.
In this period he painted numerous palaces and had many of the greatest decorative commissions,
among others a series of scenes of the life of Saint Cecilia in the church of San Luigi dei Francesi.
The dignified composition of the figures, as in a frieze, reflects his studies on Raffaello's Arazzi
and in turn influenced Poussin.
The Roman residence gave the artist the opportunity not only to establish himself,
but also to continue his training with the assiduous study of great artists such as Raffaello,
of whom echoes resound even in the frescoes of the Abbey of Grottaferrata.
His masterpiece of the 1920s is a series of frescoes performed in Sant'Andrea nella Valle,
representing the four evangelists in the Pennacchi of the dome and scenes of the life of Saint Andrea in the apse.
The Pennacchi show a shift from classicism to a more widely Baroque style,
but Domenichino never abandoned his principles of clarity and security in drawing
to yield to easy pictorial effects.
In 1631 he moved to Naples and in his frescoes, in the chapel of San Gennaro della Catedrale,
he allowed himself more to the Baroque style.
Some Neapolitan artists were jealous of his success and were hostile to him,
pushing him to leave the city in 1634.
Domenichino had a shy and anxious personality and did not want to stay in an environment adverse to him.
He returned to Naples the following year, in 1635, but died before finishing his work in the cathedral, in 1641.
He was 60 years old and some beliefs, not endorsed by any official documentation,
believe him dead from poisoning.
Although he was renowned for fresco decorations and altarpieces,
Domenichino was also important in other fields, in particular as an exponent of the ideal landscape.
For this pictorial genre he represented the link between Annibale Carracci and Claude Lorrain.
Domenichino builds his landscapes from the experiences of the Venetian art of the previous century
as we see in the landscape with Tobias and the Angel.
The biblical episode is represented in the foreground,
but the characters appear annulled by the preponderance of the landscape.
The large plants painted on the edges of the painting accentuate the perception of perspective.
In another masterpiece, the Hunt of Diana,
preserved at the Galleria Borghese in Rome,
the artist experiences the modulation of colors in the rendering of the landscape in the distance
through overlays of thin veils,
a technique that denotes the painter's interest in Leonardo's aerial perspective theory.
This Bolognese artist was one of the best designers of his generation and also a great portraitist.
The Royal Library of Windsor Castle retains an exceptional collection of his drawings.
His fame has had ups and downs throughout history.
Criticized by Ruskin in the 19th century,
he was then widely re-evaluated at the end of the 20th century as one of the great innovators of the art of the 16th century.
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