通告(1592 - 96)
他出生在乌尔比诺,乌尔比诺公爵领地的最早,收到了他的学徒和他的父亲,Ambrogio Barocci,一些地方隆起的雕塑家。他当时在给画家巴蒂斯塔佛朗哥乌尔比诺。他陪同他的叔叔,巴特洛Genga佩扎罗,那么1548年的罗马,他在杰出的工作室,的矫揉造作者画家,Taddeo和费德里科•Zuccari.
经过四年罗马他回到他的家乡城市,他的第一个艺术作品是团体的圣玛格丽特执行圣体。他被邀请回到罗马教皇庇护四世协助的摆设梵蒂冈宫宫罗马,他画的圣母玛利亚和婴儿,与几个圣人和天花板上的壁画,代表了报喜。
第二逗留期间,在完成装饰梵蒂冈Barocci患病与肠道的投诉。他怀疑他吃了一份沙拉遭到嫉妒毒害的竞争对手。担心他的病是终端,他于1563年离开罗马,四年后他说体验部分缓解祈祷后处女。[1]Barocci今后经常抱怨虚弱的健康,尽管他仍然生产了近四十年了。当他被同时代的人描述为个人有点孤僻和忧郁症的,他的画是活泼和聪明。虽然他继续主要从远处装饰画佣金,他再也没有回到罗马,主要是在他的家乡城市光顾弗朗西斯科·玛丽亚二世拉诺拉乌尔比诺公爵。公爵殿中可以看到他的画作的背景下,呈现在一个强迫透视看起来矫揉造作的遗物。
油画诞生,1597年,博物馆普拉多电影院,马德里
Barocci离开罗马时,艺术的名声和影响力的支点,他在他的风格继续创新。在某种程度上他可能看到彩色的粉笔/蜡笔画柯勒乔,但Barocci卓越的柔和的研究最早的例子技术才能生存。蜡笔和石油草图(另一种方法他首创)Barocci的软,乳白色的效果图唤起了飘渺的。这样的研究是一个复杂的过程的一部分Barocci用于完成他的圣坛雕刻。一个有组织的一系列步骤导致最终产品确保其速度和成功执行。Barocci无数的草图:手势,成分,具有人的形象的研究(使用模型),照明研究(使用粘土模型),的角度来看研究、色彩研究、性质研究等。今天,超过2000个由他的图表是现存。的每一个细节他随后卡通油画是用这种方式。一个很好的例子是他著名的麦当娜del Popolo(乌菲兹)。涡的色彩和活力,由各种各样的人,姿势,观点,自然细节,色彩,照明和大气的影响。有许多幸存的麦当娜del Popolo图纸,从最初的草图到颜色的研究,最后全尺寸卡通。尽管这个艰苦的过程,Barocci的天才把笔触充满激情和解放,和精神上的光似乎闪烁宝石在脸,手,布料,和天空。
费德里科•Barocci,麦当娜del Popolo,1579
Barocci的拥抱反宗教改革将塑造他的长期和富有成效的职业。到1566年,他加入了一个躺着的顺序卷尾猴的一个分支弗兰西斯科人.[2]他可能被影响圣菲利普·内里奥拉托利会会友,试图重新连接与日常生活的人的精神领域。内里,他有点矛盾的积累丰富圣玛丽亚在Vallicella从Barocci,委托两个已完成的工程,这些大型虔诚的圣坛雕刻的杰出艺术家:的探视(1583 - 6)演讲的处女(1593 - 94)。内里据说搬到了狂喜Barocci的成就在前幅,这显示了维珍和伊丽莎白互相问候。
在乌尔比诺,他画的后裔从十字架上的圣洛伦佐教堂佩鲁贾。他再次访问罗马在教皇的格里高利十三世当他画了两个令人钦佩的照片Chiesa Nuova,代表圣母玛利亚的探视伊丽莎白和表示在殿里,和德拉 密涅瓦最后的晚餐。
艺术家的传记作者乔凡尼Bellori巴洛克式的Giorgio Vasari,认为Barocci是最好的画家之一。Barocci情感绘画是不会丢失彼得·保罗鲁本斯当他在意大利。鲁本斯是已知的草图的殉难圣维塔莱烈士的起伏的肉是数据的另一个旋风的眼睛,手势,和戏剧。同样,鲁本斯的殉难圣Livinus似乎要归功于Barocci,指向的丘比特裸像棕榈叶的狗在右下角。在画家和艺术家Barocci以下工作安东尼奥Cimatori(Visacci),文图拉马扎,安东尼奥Viviani(乌尔比诺伊尔Sordo di),乔凡尼Andrea Urbani,亚历桑德罗·维塔利,最后菲利斯和Vincenzo Pellegrini。Barocci也有许多人跟随或强烈影响了他的风格,包括尼科洛Martinelli(il Trometta),Giovanni Battista Lombardelli,多梅尼科Malpiedi,凯撒和巴西利奥Maggeri,菲利普·贝里尼,乔凡尼Laurentini(Arrigoni),乔治•Picchi,乔凡尼Giacomo Pandolfi,彼得保罗Tamburini,泰伦齐奥女士帮d 'Urbino(il Rondolino),朱里奥凯撒Begni,Benedetto马里尼,Girolamo Cialdieri,Giovanni Battista Urbinelli,阿方索Patanazzi,吉安Ortensio Bertuzzi,切萨雷·弗兰奇(il Pollino),新罗Piccinini,Benedetto班迪耶拉,Matteuccio萨吴奇,西蒙尼Ciburri,Pietro Rancanelli,Onofrio马里尼,亚历桑德罗·布鲁内利,弗朗西斯科·Baldelli
Barocci旋转成分和关注情感和精神是预示着鲁本斯的巴洛克风格的元素。但即使在费德里科•Proto-Baroque贝亚特Michelina可以看到的素质贝尔尼尼高巴洛克杰作圣特蕾莎的狂喜.
He was born at Urbino, Duchy of Urbino, and received his earliest apprenticeship with his father, Ambrogio Barocci, a sculptor of some local eminence. He was then apprenticed with the painter Battista Franco in Urbino. He accompanied his uncle,Bartolomeo Genga to Pesaro, then in 1548 to Rome, where he was worked in the pre-eminent studio of the day, that of the Mannerist painters, Taddeo and Federico Zuccari.
After passing four years at Rome, he returned to his native city, where his first work of art was a St. Margaret executed for the Confraternity of the Holy Sacrament. He was invited back to Rome by Pope Pius IV to assist in the decoration of the Vatican Belvedere Palace at Rome, where he painted the Virgin Mary and infant, with several Saints and a ceiling in fresco, representing theAnnunciation.
During this second sojourn, while completing the decorations for the Vatican, Barocci fell ill with intestinal complaints. He suspected that a salad which he had eaten had been poisoned by jealous rivals. Fearing his illness was terminal, he left Rome in 1563; four years later he was said to experience a partial remission after prayers to the Virgin.[1] Barocci henceforth often complained of frail health, though he remained productive for nearly four decades more. While he is described by contemporaries as personally somewhat morose and hypochondriacal, his paintings are lively and brilliant. Although he continued to have major altarpiece commissions from afar, he never returned to Rome, and was mainly patronized in his native city by Francesco Maria II della Rovere, duke of Urbino. The Ducal Palace can be seen in the background of his paintings, rendered in a forced perspective that seems a holdover from Mannerism.
While Barocci was removed from Rome, the fulcrum of artistic fame and influence, he continued to innovate in his style. At some point he may have seen colored chalk/pastel drawings by Correggio, but Barocci's remarkable pastel studies are the earliest examples of the technique to survive. In pastels and in oil sketches (another technique he pioneered) Barocci's soft, opalescent renderings evoke the ethereal. Such studies were part of a complex process Barocci used to complete his altarpieces. An organized series of steps leading up to the final product ensured its speed and success in execution. Barocci did innumerable sketches: gestural, compositional, figural studies (using models), lighting studies (using clay models), perspective studies, color studies, nature studies, etc. Today, over 2,000 drawings by him are extant. Every detail of his subsequent cartoons for canvases was worked out in this way. A good example is his famed Madonna del Popolo(Uffizi). It is a vortex of color and vitality, made possible by the great variety of people, poses, perspectives, natural details, colors, lighting and atmospheric effects. There are many surviving drawings for the Madonna del Popolo, from initial sketches to color studies of heads, to the final full size cartoon. Despite this painstaking process, Barocci's genius kept the brushstrokes passionate and liberated, and a spiritual light seems to flicker as a jewel across faces, hands, drapery, and sky.
Barocci's embrace of the Counter Reformation would shape his long and fruitful career. By 1566, he joined a lay order of Capuchins, an offshoot of Franciscans.[2] He may have been influenced by Saint Philip Neri, whose Oratorians sought to reconnect the spiritual realm with the lives of everyday people. Neri, who was somewhat ambivalent about the accumulating richness of his Santa Maria in Vallicella, commissioned two completed works from Barocci, the pre-eminent artist of these large pious altarpieces:The Visitation (1583-6) and Presentation of the Virgin (1593–94). Neri is said to have been moved to ecstasy by Barocci's accomplishment in the former painting, which shows the Virgin and Elizabeth greeting each other.
In Urbino, where he painted a Descent from the Cross for the cathedral of San Lorenzo at Perugia. He again visited Rome during the papacy of Gregory XIII when he painted two admirable pictures for the Chiesa Nuova, representing the Visitation of the Virgin Mary to Elisabeth and the Presentation in the Temple, and for the Chiesa della Minerva, a Last Supper.
The artist biographer Giovanni Bellori, the Baroque equivalent of Giorgio Vasari, considered Barocci to be among the finest painters of his time. Barocci's emotive brushwork was not lost on Peter Paul Rubens when he was in Italy. Rubens is known to have made a sketch of his dramatic Martyrdom of St Vitale, in which the martyr's undulating flesh is the eye of another whirlwind of figures, gestures, and drama. Also, Rubens' The Martyrdom of St Livinus seems to owe much to Barocci, from the putto with the pointing palm frond to the presence of dogs in the lower right corner. Among the painters and artists who worked under Barocci are Antonio Cimatori (Visacci), Ventura Mazza,Antonio Viviani (il Sordo di Urbino), Giovanni Andrea Urbani, Alessandro Vitali, and finally Felice and Vincenzo Pellegrini. Barocci also had many who followed or were strongly influenced by his style, including Nicolo Martinelli (il Trometta), Giovanni Battista Lombardelli, Domenico Malpiedi, Cesare & Basilio Maggeri, Filippo Bellini, Giovanni Laurentini (Arrigoni), Giorgio Picchi, Giovanni Giacomo Pandolfi, Pietro Paolo Tamburini, Terenzio d’Urbino (il Rondolino), Giulio Cesare Begni, Benedetto Marini, Girolamo Cialdieri, Giovanni Battista Urbinelli, Alfonso Patanazzi,Gian Ortensio Bertuzzi, Cesare Franchi (il Pollino), Silla Piccinini, Benedetto Bandiera, Matteuccio Salvucci, Simeone Ciburri, Pietro Rancanelli, Onofrio Marini, Alessandro Brunelli, and Francesco Baldelli
Barocci's swirling composition and the focus on the emotional and spiritual are elements that foreshadow the Baroque of Rubens. But even in Federico's Proto-Baroque Beata Michelina can see the makings of Bernini's High Baroque masterpieceEcstasy of St Theresa.
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