克雷斯皮，朱塞佩 · 玛丽亚Crespi, Giuseppe Maria（1665年3月14日—1747年7月16日）。意大利画家。
中国美术网 09-17 浏览
Crespi出生在博洛尼亚Girolamo Crespi和伊莎贝拉Cospi。他的母亲是一个遥远的高贵Cospi家族的关系,佛罗伦萨的关系美第奇。他绰号“西班牙人”(Lo Spagnuolo)因为他的习惯穿紧身的衣服西班牙时尚的特征。
到12岁,他做学徒安吉洛米歇尔·托尼(1640 - 1708)。从15岁,他在波伦亚的工作多梅尼科玛丽亚Canuti。罗马的画家卡洛Maratti在访问博洛尼亚,据说邀请Crespi在罗马工作,但Crespi拒绝。波伦亚人Maratti的朋友卡洛Cignani邀请Crespi在1681 - 82年加入一个学院del Nudo为目的的学习画画,他留在工作室,直到1686年Cignani搬迁Forli和他的工作室被Canuti最杰出的学生,乔凡尼安东尼奥Burrini。从这个时间因此,Crespi独立于其他艺术家的工作。
他主要的传记作家Giampietro到的Crespi表示:“(他)再也没有想要钱,他会走进他的想象力的故事和反复无常。经常还他画常见的东西,代表最低的职业,和人,出生贫困,必须维持自己在服务的要求富裕的公民”。为Crespi自己,于是他开始职业生涯服务与艺术品富有的赞助人。据说他有一个相机视绘画在他家里。[1]到1690年代,他已完成各种圣坛雕刻,包括《圣安东尼的诱惑委托进行计数卡罗切萨雷·瓦,现在在圣尼可拉·degli Albari.
丘比特和普赛克
他旅行威尼斯在罗马,但令人惊讶的是,没有。着他大宗教的画布屠杀的无辜并从统计报告Vincenzo Rannuzi Cospi作为一个介绍,Crespi逃离在半夜弗洛伦斯1708年,获得了大公爵的赞助费迪南·德·美第奇。他被迫逃离博洛尼亚的画布,而用于公爵,被当地的牧师,幻想没有卡洛席尔瓦为自己。围绕这一事件的事件成为了诉讼的对象,Crespi,至少在未来五年,发现公爵坚定的守护者。
一个艺术家,Crespi是一个肖像画家和一个聪明的漫画家,也是著称蚀刻后伦布兰特和出来的罗莎。据说他可以画很多不同风格的杰作。他画了一些壁画,部分原因是他拒绝漆quadraturists虽然在所有的可能性,他的风格就不会匹配介质的需求然后通常用于大言不惭的透视法。他不是普遍赞赏,Lanzi援引孟感叹,波伦亚的学校与反复无常的Crespi应该关闭。Lanzi形容Crespi允许他“把新奇终于让他好天才误入歧途”。他发现Crespi包括漫画甚至圣经或英雄主题,他狭小的人物,他“矫揉造作”下降,和画一些色彩和笔触,确实“雇佣与判断但过于肤浅,没有身体的力量”。[2]
Crespi was born in Bologna to Girolamo Crespi and Isabella Cospi. His mother was a distant relation of the noble Cospi family, which had ties to the Florentine House of Medici. He was nicknamed "the Spanish One" (Lo Spagnuolo) because of his habit of wearing tight clothes characteristic of Spanish fashion of the time.
By age 12 years, he apprenticed with Angelo Michele Toni (1640–1708). From the age of 15–18 years, he worked under the Bolognese Domenico Maria Canuti. The Roman painter Carlo Maratti, on a visit to Bologna, is said to have invited Crespi to work in Rome, but Crespi declined. Maratti's friend, the Bolognese Carlo Cignani invited Crespi in 1681–82 to join anAccademia del Nudo for the purpose of studying drawing, and he remained in that studio until 1686, when Cignani relocated to Forlì and his studio was taken over by Canuti's most prominent pupil, Giovanni Antonio Burrini. From this time hence, Crespi worked independently of other artists.
His main biographer, Giampietro Zanotti, said of Crespi: "(He) never again wanted for money, and he would make the stories and caprices that came into his imagination. Very often also he painted common things, representing the lowest occupations, and people who, born poor, must sustain themselves in serving the requirements of wealthy citizens". Thus it was for Crespi himself, as he began a career servicing wealthy patrons with artwork. He is said to have had a camera optica in his house for painting.[1] By the 1690s he had completed various altarpieces, including a Temptation of Saint Anthony commissioned by Count Carlo Cesare Malvasia, now in San Niccolò degli Albari.
Innocents and a note from Count Vincenzo Rannuzi Cospi as an introduction, Crespi fled in the middle of the night to Florence in 1708, and gained the patronage of the Grand Duke Ferdinand I de' Medici. He had been forced to flee Bologna with the canvas, which while intended for the Duke, had been fancied by a local priest, Don Carlo Silva for himself. The events surrounding this episode became the source of much litigation, in which Crespi, at least for the next five years, found the Duke a firm protector.
An eclectic artist, Crespi was a portrait painter and a brilliant caricaturist, and was also known for his etchings after Rembrandt and Salvator Rosa. He could be said to have painted a number of masterpieces in different styles. He painted few frescoes, in part because he refused to paint for quadraturists, though in all likelihood, his style would not have matched the requirements of a medium then often used for grandiloquent scenography. He was not universally appreciated, Lanzi quotes Mengs as lamenting that the Bolognese school should close with the capricious Crespi. Lanzi himself describes Crespi as allowing his "turn for novelty at length to lead his fine genius astray". He found Crespi included caricature in even scriptural or heroic subjects, he cramped his figures, he "fell in to mannerism", and painted with few colors and few brushstrokes, "employed indeed with judgement but too superficial and without strength of body".[2]
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
