早年在博洛尼亚

他出生在博洛尼亚在1578年,丝绸商人的儿子希望他进入自己的贸易。然而,十二岁的Albani已成为学徒主管矫揉造作者画家丹尼斯Calvaert他遇到了工作室的圭多雷尼。他很快就跟着Reni所谓的由“学会”Annibale,阿戈斯蒂诺•,卢多维科Carracci。这个工作室培养的许多画家的职业生涯波伦亚的学校,包括Domenichino,了起来,中提琴,Lanfranco,乔凡尼弗朗西斯科·格里马尔迪,Pietro Faccini,Remigio Cantagallina,Reni.

成熟的工作在罗马

Albani搬到罗马,1600年的壁画装饰的画廊宫法的工作室,这是完成Annibale Carracci。在这个时候,罗马,下克莱门特八世Aldobrandini(1592 - 1605)是表现出一定程度的行政稳定和新的艺术赞助。虽然教皇克莱门特是出生在一个家庭居住在佛罗伦萨乌尔比诺,他的家人被婚姻的盟军选票和法Ranuccio我法,帕尔马公爵嫁给了玛格丽塔Aldobrandini。帕尔马,像博洛尼亚,部分地区的选票,这是不足为奇的红衣主教Odoardo法Ranuccio的兄弟,选择光顾Carraccis从博洛尼亚,从而建立波伦亚的罗马的统治地位壁画画了近二十年。

Albani成为Annibale最著名的学徒之一。使用Annibale的设计和辅助Lanfranco和Sisto Badalocchio,Albani圣地亚哥礼拜堂的壁画完成圣Giacomo degli Spagnoli在1602年和1607年之间。1606 - 7,Albani完成的壁画宫殿Mattei di Giove在罗马。后来他完成另外两个在同一宫壁画,约瑟夫的生活主题。

1609年,他完成了大厅的天花板辉腾和神的宫殿Giustiniani(现在的宫殿Odescalchi)Romano Bassano(di Sutri)。这项工作委托了Marchese Vicenzo Giustiniani,也是著名的赞助人卡拉瓦乔.

在1612 - 14,Albani完成了教堂的唱诗班壁画和平圣母堂刚刚被改建彼得罗达Cortona。在1616年他画天板壁画阿波罗和季节宫殿Verospi在通过德尔·科索的红衣主教法布里奇奥Verospi.

在晚年Albani共同开发,虽然恭敬,竞争与圭多雷尼越成功,他也严重Aldobrandini光顾,和谁Albani曾在教堂的奎里纳勒宫复兴运动.

Albani最好的壁画都是那些神话的主题。最好的他的神圣的对象是一个圣塞巴斯蒂安和一个假设的处女,在教会的圣塞巴斯蒂安。服务的不均匀在罗马。他是意大利画家致力于绘画内阁的照片。他的神话主题包括熟睡的金星,戴安娜在浴缸里,达娜厄躺,紧紧在海上,和欧罗巴公牛。一种罕见的蚀刻,狄多的死亡,是由于他。卡洛Cignani,安德里亚·萨基,弗朗西斯科·翻车鲀,乔凡尼弗朗西斯科·格里马尔迪是他的学生。妻子去世后他回到博洛尼亚,他第二次结婚,住在哪里,直到他的死亡。

遗产

Albani从未获得的巨大或暗色调主义白扬画家的当代世界,为他的抒情和经常被嘲笑,cherubim-filled甜蜜,常常还没有动摇了矫揉造作者优雅。虽然Albani的主题会呼吁普桑,他没有法国人的肌肉戏剧。他的风格有时似乎有更多的共同点与装饰Rococothan这幅画的自己的时间。

在他的学生是他的兄弟Giovanni Battista Albani和其他人,包括Giacinto贝里尼,Girolamo Bonini,Giacinto坎帕尼亚大区,安东尼奥Catalani,卡洛Cignani,乔瓦尼·玛丽亚·加利,菲利波Menzani,Bartolommeo Morelli,安德里亚·萨基,安德里亚Sghizzi,Giovanni Battista颤抖,Antonio Maria del唯一,埃米利奥Taruffi,弗朗西斯科·瓦卡罗.

Early years in Bologna

He was born in Bologna in 1578,^[1] the son of a silk merchant who intended him to go into his own trade. By the age of twelve, however, Albani had become an apprentice to the competent mannerist painter Denis Calvaert, in whose studio of he met Guido Reni. He soon followed Reni to the so-called "Academy" run by Annibale, Agostino, and Ludovico Carracci. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi, Pietro Faccini,Remigio Cantagallina, and Reni.

Mature work in Rome

In 1600, Albani moved to Rome to work on the fresco decoration of the gallery of the Palazzo Farnese, which was being completed by the studio of Annibale Carracci. At this time, Rome, under Clement VIII Aldobrandini (1592–1605) was exhibiting some degree of administrative stability and renewed artistic patronage. While Pope Clement had been born into a Florentine family resident in Urbino, his family was allied by marriage to the Emilia-Romagna and the Farnese, since Ranuccio I Farnese, Duke of Parma had married Margherita Aldobrandini. Parma, like Bologna, being part of the Region of Emilia-Romagna, it was not surprising thatCardinal Odoardo Farnese, Ranuccio's brother, chose to patronise the Carraccis from Bologna, thereby establishing Bolognese dominance of Roman fresco painting for nearly two decades.

Albani became one of Annibale's most prominent apprentices. Using Annibale's designs and assisted by Lanfranco and Sisto Badalocchio, Albani completed frescoes for the San Diego Chapel in San Giacomo degli Spagnoli between 1602 and 1607. In 1606-7, Albani completed the frescoes in the Palazzo Mattei di Giove in Rome. He later completed two other frescoes in the same palace, also on the theme of Life of Joseph.

In 1609, he completed the ceiling of a large hall with Fall of Phaeton and Council of the Gods for the Palazzo Giustiniani (now Palazzo Odescalchi) at Bassano (di Sutri) Romano. This work was commissioned by the Marchese Vicenzo Giustiniani, also famous as a patron of Caravaggio.

During 1612-14, Albani completed the Choir frescoes at the church of Santa Maria della Pace which had just been remodelled by Pietro da Cortona. In 1616 he painted ceiling frescoes of Apollo and the Seasons at Palazzo Verospi in Via del Corso for the cardinal Fabrizio Verospi.

In his later years, Albani developed a mutual, though respectful, rivalry with the more successful Guido Reni, who was also heavily patronized by the Aldobrandini, and under whom Albani had worked under at the chapel of the Palazzo del Quirinale.

Albani's best frescoes are those on mythological subjects. Among the best of his sacred subjects are a St Sebastian and an Assumption of the Virgin, both in the church of San Sebastiano fuori le Mura in Rome. He was among the Italian painters to devote himself to painting cabinet pictures. His mythological subjects include The Sleeping Venus, Diana in the Bath, Danaë Reclining, Galatea on the Sea, and Europa on the Bull. A rare etching, the Death of Dido, is attributed to him. Carlo Cignani, Andrea Sacchi, Francesco Mola, and Giovanni Francesco Grimaldi were among his students. Following the death of his wife he returned to Bologna, where he married a second time and lived until his death.

Legacy

Albani never acquired the monumentality or tenebrism that was quaking the contemporary world of painters, and is often derided often for his lyric, cherubim-filled sweetness, which often has not yet shaken the mannerist elegance. While Albani's thematic would have appealed to Poussin, he lacked the Frenchman's muscular drama. His style sometimes seems to have more in common with the decorative Rococothan with the painting of his own time.

Among his pupils were his brother Giovanni Battista Albani, and others including Giacinto Bellini, Girolamo Bonini, Giacinto Campagna, Antonio Catalani, Carlo Cignani,Giovanni Maria Galli, Filippo Menzani, Bartolommeo Morelli, Andrea Sacchi, Andrea Sghizzi, Giovanni Battista Speranza, Antonio Maria del Sole, Emilio Taruffi, and Francesco Vaccaro.