卡罗帕瓦.罗蒂Carlo Maratti（1625年5月13日—1713年12月15日），意大利画家。
出生在Camerano(马尔凯),那么的一部分教皇国,他在1636年去了罗马,伴随着,唐Corintio Benicampi,秘书Barberini Taddeo.他成为了一个学徒的工作室安德里亚·萨基。这个时候,萨基和之间的辩论彼得罗达Cortona发生在学院迪圣卢卡在罗马,艺术家学院。萨基认为,绘画应该只有几个数据应该表达叙述而Cortona反驳说,更多的数据允许子主题的发展。Maratta当时的绘画和古典风格的紧密结合萨基是更多的限制和由的巴洛克式的繁荣彼得罗达Cortona的绘画。萨基一样,他的绘画灵感来自伟大的画家的作品帕尔玛和博洛尼亚:Annibale Carracci,Guercino,圭多雷尼,弗朗西斯科·Albani和乔凡尼Lanfranco.
他开发了一种密切的关系和萨基直到1661年他的主人的死亡。他的壁画的康斯坦丁下令摧毁异教偶像”(1648)的洗礼堂拉特兰基于设计萨基,引起他的注意,一个艺术家,但他的第一个著名的独立工作是“牧羊人的崇拜”为圣朱塞佩•迪Falegnami(1650)。这一时期的另一个主要工作是“三一透露的神秘圣奥古斯丁的(c。1655)画的教堂圣玛丽亚一些Sette Dolori.
教皇亚历山大七世(1655 - 1667年在位)委托很多从他作品包括“探视”(1656)和平圣母堂和“诞生”画廊的奎里纳尔宫宫殿,他Cortona选他的人的指导下工作了这一任务。他1650年代后期展览的照片光线和运动源自罗马巴洛克绘画,结合古典理想主义。
教皇克莱门特第九
教会的医生讨论处女的假设(1686)
从1660年,他建立了一个私人客户在欧洲富有的顾客,建立最突出的艺术工作室在罗马的时间,死后贝尔尼尼1680年,他成为领先的艺术家在罗马。[4]1664年,Maratta成为学院的主任迪圣卢卡和关心提升艺术家的地位,促进了学习和绘画艺术的古典时代。在1670年代他受命于教皇克莱门特X塞拉利昂的天花板壁画宫殿阿尔提耶里;“仁慈的胜利”的肖像的计划是由Bellori发明的。不像Giovan巴蒂斯塔Gaulli的附近教堂的中殿壁画Gesu被画在同一时间,Maratta没有雇佣幻想说;他的场景仍然在其框架,使用一些数据。
他这一时期的主要作品包括:“圣母圣菲利普·内里的外观(c。1675)现在彼蒂宫在佛罗伦萨,“圣母和圣徒圣母玛利亚和伊格内修斯洛约拉,卡洛和天使的教会(c。1685)圣玛丽亚在Vallicella(1675年);“圣母的假设与医生教会的(1686)Cybo教堂在Santa Maria del Popolo。这不是他的批评者声称,大量描写的处女,他起了个绰号“卡鲁齐奥说delle Madonne或“小卡洛的麦当娜”,但他的天赋对这个主题的理解。其他作品包括装饰画的圣弗朗西斯泽维尔的死亡(1674 - 9)在圣弗朗西斯科·泽维尔教堂的婚礼教堂的Gesu.
Maratta是一个著名的肖像画家。他画萨基(c。1655年,普拉多博物馆),红衣主教Barberini安东尼奥(1660 c。Barberini宫殿第九),教皇克莱门特(1669年,梵蒂冈Pinacoteca)和一个自画像(c。1695年,布鲁塞尔)。他还画了许多英语保姆在他们访问罗马的游,早在1645年约翰·伊芙琳勾勒出文物。
弗朗西斯卡Gommi Maratta(大约1690年)
在1679年或1680年,一个女儿,福斯蒂娜Maratta出生,他的情妇,弗朗西斯卡Gommi(或时序标记)。他法律上承认她是他的女儿在1698年和1700年成为鳏夫,Maratta女孩的母亲结婚。他女儿的特性被纳入Maratta已故的画作。[4][8]
1704年,Maratta被教皇封为爵士克莱门特ξ.
与一般的资助下降在十八世纪初,很大程度上是由于经济衰退,Maratta转向绘画修复,包括拉斐尔的画作和Carracci。他的雕塑设计包括数据的使徒圣乔凡尼Laterano。他继续他的工作室步入老年,即使他不能再油漆。Maratta死于1713年在罗马,葬在那里圣玛丽亚degli天使.
Born in Camerano (Marche), then part of the Papal States, he went to Rome in 1636, accompanied by, Don Corintio Benicampi, secretary to Taddeo Barberini. He became an apprentice in the studio of Andrea Sacchi. It was at this time that the debate between Sacchi and Pietro da Cortona took place at the Accademia di San Luca, the artists academy in Rome. Sacchi argued that paintings should only have a few figures which should express the narrative whereas Cortona countered that a greater number of figures allowed for the development of sub themes. Maratta's painting at this time was closely allied with the classicism of Sacchi and was far more restrained and composed than the Baroque exuberance of Pietro da Cortona’s paintings. Like Sacchi, his paintings were inspired by the works of the great painters from Parmaand Bologna: Annibale Carracci, Guercino, Guido Reni, Francesco Albani and Giovanni Lanfranco.
He developed a close relationship with Sacchi till the death of his master in 1661. His fresco of 'Constantine ordering the Destruction of Pagan Idols' (1648) for the Baptistery of the Lateran, based on designs by Sacchi, gained him attention as an artist but his first prominent independent work was the 'Adoration of the Shepherds' (1650) for San Giuseppe di Falegnami. Another major work from this period was 'The Mystery of the Trinity Revealed to St. Augustine' (c. 1655) painted for the church of Santa Maria dei Sette Dolori.
Pope Alexander VII (reigned 1655–1667) commissioned many paintings from him including 'The Visitation' (1656) for Santa Maria della Pace and the 'Nativity' in the gallery of the Quirinal Palace where he worked under the direction of Cortona who selected him for this task. His pictures of the late 1650s exhibit light and movement derived from Roman Baroque painting, combined with classical idealism.
From 1660, he built up a private client base amongst wealthy patrons of Europe, establishing the most prominent art studio in Rome of his time and, after the death of Bernini in 1680, he became the leading artist in Rome.[4] In 1664, Maratta became the director of the Accademia di San Luca and, concerned with elevating the status of artists, promoted the study and drawing of the art of Classical Antiquity. During the 1670s he was commissioned by Pope Clement X to fresco the ceiling of the salone in the Palazzo Altieri; the iconographic programme for ‘The Triumph of Clemency’ was devised by Bellori . Unlike Giovan Battista Gaulli’s nave fresco in the nearby church of the Gesu which was being painted at the same time, Maratta did not employ illusionism; his scene remained within its frame and used few figures.
His major works of this period included: 'The Appearance of the Virgin to St. Philip Neri' (c. 1675) now in the Pitti Palace in Florence; 'The Virgin with Saints Carlo Borromeo and Ignatius of Loyola, and Angels' (c. 1685) for the church of Santa Maria in Vallicella (c. 1675); and 'The Assumption of the Virgin with Doctors of the Church' (1686) for the Cybo Chapel in Santa Maria del Popolo. It was not, as his critics claimed, numerous depictions of the Virgin that earned him the nickname Carluccio delle Madonne or ‘Little Carlo of the Madonnas', but his gifted interpretation of this theme.[4] Other works included an altarpiece, ‘The Death of St Francis Xavier’ (1674–9) in the San Francesco Xavier Chapel in the right transept of the Church of the Gesu.
Maratta was a well-known portrait painter.[6] He painted Sacchi (c. 1655, Prado), Cardinal Antonio Barberini (c. 1660 Palazzo Barberini), Pope Clement IX (1669, Vatican Pinacoteca) and a self-portrait (c. 1695, Brussels). He also painted numerous English sitters during their visits to Rome on the Grand Tour, having sketched antiquities for John Evelyn as early as 1645.[7]
In 1679 or 1680, a daughter, Faustina, was born to Maratta by his mistress, Francesca Gommi (or Gomma). He legally recognized her as his daughter in 1698 and upon becoming a widower in 1700, Maratta married the girl's mother. His daughter’s features were incorporated into a number of Maratta’s late paintings.
In 1704 Maratta was knighted by Pope Clement XI.
With a general decline in patronage around the beginning of the eighteenth century and largely due to the economic downturn, Maratta turned his hand to painting restoration, including works by Raphael and Carracci. His sculptural designs included figures of the Apostles for San Giovanni in Laterano. He continued to run his studio into old age even when he could no longer paint. Maratta died in 1713 in Rome, and was buried there inSanta Maria degli Angeli.
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