弗朗切斯科.索利梅纳Francesco Solimena（1657年10月4日——1747年5月3日），意大利画家。
弗朗西斯科·Solimena出生于Canale diSerino附近的Avellino.
他从他的父亲接受了早期训练,安吉洛Solimena,他执行的大教堂的天堂Nocera(一个地方,他花了他的生活的重要组成部分)和亚历山大的圣西里尔的愿景的圣多梅尼科教堂Solofra.
他定居在那不勒斯在1674年,他的工作室工作弗朗西斯科·迪马利亚后来Giacomo del阿宝.[1]他显然已经把文书订单,但早期光顾,鼓励红衣主教Vincenzo奥尔西尼(后来成为一个艺术家教皇本笃十三世).[2]到了1680年代,他有独立的壁画佣金,他活跃的工作室来主导那不勒斯绘画从1690年代到前四年的18世纪。他模仿他的艺术,他是一个非常传统的painter-after罗马巴洛克大师,卢卡·佐丹奴和乔凡尼Lanfranco,Mattia Preti,他的温暖的褐色阴影Solimena模拟技术。Solimena画许多壁画在那不勒斯,圣坛雕刻,庆祝婚礼和宫廷的场合,神话主题,选择典型的戏剧戏剧和肖像。他与几个details-steps设置建议,拱门,栏杆,columns-concentrating关注人物和他们的布料,在池和轴的光。艺术历史学家喜欢识别模型他模仿或改编作品。他的许多准备图纸经常混合媒体,结合钢笔、粉笔和水彩洗涤。
精心构造的一个典型的例子寓意的“机器”他早期成熟的风格,充分利用他的掌握明暗对比的是规则的寓言(1690)从斯德收集,来冬宫博物馆,圣彼得堡。
他显然希望看到他的儿子Orazio遵循法律的职业,他获得了博士学位(de Domenici),但也成为一个画家。
Francesco Solimena was born in Canale di Serino, near Avellino.
He received early training from his father,Angelo Solimena, with whom he executed aParadise for the cathedral of Nocera (a place where he spent a big part of his life) and aVision of St. Cyril of Alexandria for the church of San Domenico at Solofra.
He settled in Naples in 1674, there he worked in the studio of Francesco di Maria and laterGiacomo del Po.[1] He apparently had taken the clerical orders, but was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII).[2] By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his art—for he was a highly conventional painter—after the Roman Baroque masters, Luca Giordano and Giovanni Lanfranco, and Mattia Preti, whose technique of warm brownish shadowing Solimena emulated. Solimena painted many frescoes in Naples, altarpieces, celebrations of weddings and courtly occasions, mythological subjects, characteristically chosen for their theatrical drama, and portraits. His settings are suggested with a few details—steps, archways, balustrades, columns—concentrating attention on figures and their draperies, caught in pools and shafts of light. Art historians take pleasure in identifying the models he imitated or adapted in his compositions. His numerous preparatory drawings often mix media, combining pen-and-ink, chalk and watercolor washes.
A typical example of the elaborately constructed allegorical "machines" of his early mature style, fully employing his mastery of chiaroscuro, is the Allegory of Rule (1690) from the Stroganoff collection, which has come to the State Hermitage Museum, St Petersburg.
He apparently hoped to see his son Orazio follow a career in the law, for which he received a doctorate (de Domenici), but also became a painter.
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