Giovanni Lanfranco
Paintings
Madonna and Child with the Infant Saint John the Baptist
Saint Praxedis
Elijah Receiving Bread from the Widow of Zarephath
Naumachia . Gladiatorial naval battle in ancient Rome
Banquet with a Gladiatorial Contest
Moses and the Messengers from Canaan
The Rape of Europa
The funeral of the Roman Emperor
The ceremonial sacrifice of the Roman Emperor
Venus Playing the Harp (Allegory of Music)
Coronation of the Virgin with St Augustine and St William of Aquitaine
The Virgin and Child Appearing to Sts Anthony Abbot and James the Greater
Ecstasy of St Margaret of Cortona
Norandino and Lucina Discovered by the Ogre
Crucifixion (detail)
Alexander the great and Philip of Acarnania
The Adoration of the Shepherds (The Night)
The Prophet Elijah in the desert by an angel awakened
The Madonna and Child with the Infant Saint John the Baptist
Wounded man
Mary Magdalen Raised by Angels
Moses and the Messengers from Canaan
Norandino and Lucina Discovered by the Ogre
Drawings
Pope Gregory kneeling before a painting of the Virgin
The Martyrdom of the Apostle Thomas
Seated Apostles and Putti
Putti and a Young Satyr at Play
The arrival of citrus fruits in the Gulf of Naples
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Naumachia . Gladiatorial naval battle in ancient Rome
Giovanni Lanfranco (26 January 1582 – 30 November 1647) was an Italian painter of the Baroque period.
Biography
Giovanni Gaspare Lanfranco was born in Parma, the third son of Stefano and Cornelia Lanfranchi, and was placed as a page in the household of Count Orazio Scotti.[1] His talent for drawing allowed him to begin an apprenticeship with the Bolognese artist Agostino Carracci, brother of Annibale Carracci, working alongside fellow Parmese Sisto Badalocchio in the local Farnese palaces. When Agostino died in 1602, both young artists moved to Annibale's large and prominent Roman workshop, which was then involved in working on the Galleria Farnese in the Palazzo Farnese gallery ceiling. Lanfranco is considered to have contributed to the panel of Polyphemus and Galatea (replica in Doria Gallery) and some minor works in the room.
Afterwards, while still technically a member of the Carracci studio of Carracci, Lanfranco, along with Guido Reni and Francesco Albani, frescoed the Herrera (San Diego) Chapel in San Giacomo degli Spagnoli (1602–1607). He also participated in the fresco decoration of San Gregorio Magno and of the Cappella Paolina in Santa Maria Maggiore.
Independent work
Giovanni Lanfranco, Resurrection, 1622
Annunciation, between 1610 and 1630 (Hermitage Museum)
By
1605, Lanfranco was obtaining some independent commissions; for
example, he contributed paintings to the Camerino degli Eremiti in the
Palazzetto Farnese (also known as Casino della Morte), once a low
building on the Via Giulia, adjacent to the church of Santa Maria
dell’Orazione e Morte. The camerino had been constructed by Cardinal
Odoardo Farnese, next to his palace and gardens, and was destroyed in
1734 to allow for the construction of the aforementioned church. Of the
canvases and frescoes by Domenichino, Girolamo Pulzone, Paul Bril, and
Lanfranco, some are conserved in the new church. Among other works,
Lanfranco contributed to this series, the eccentric Translation of the
Magdalen.[2]
After the death of Annibale Carracci in 1609,
and with the Emilian school of painting temporarily out of favor,
Lanfranco returned to his native Parma for two years. There, he met
Bartolomeo Schedoni and painted the altarpiece for the Ognissanti
church. Lanfranco also produced paintings and altarpieces in Orvieto,
Vallerano, Leonessa and Fermo.
Return to Rome
After his
return to Rome by 1612, Lanfranco and competed with other Carracci
students and assistants—including Reni, Albani, and Domenichino—for
Roman patronage. Reni, however, was soon to depart for Naples and then
Bologna. During the following decades in Rome, through the 1620s,
Lanfranco and Domenichino engaged in a rivalry for the main fresco
commissions. A measure of the competition can be gauged from
Lanfranco's public accusation, not wholly without merit, that
Domenichino had plagiarized Agostino Carracci in his painting of the
Confession of St. Jerome, now in the Vatican.
Unlike Domenichino, Lanfranco was fairly eclectic in terms of style but preferred a visionary, theatrical approach suitable for the ceiling paintings gaining currency in the early 17th century. His works suggest some influence from the late work of Ludovico Carracci, a cousin of Agostino and Annibale, and possibly from Caravaggio (as, for example, in the altarpiece depicting the Inspiration of Saint Luke at Piacenza(1611)), though the stylistic importance of Caravaggio to Lanfranco has been disputed. In other works, he assimilated and adapted the style of his compatriot and predecessor of the 16th century, Antonio Correggio, as in his Adoration of the Shepherds painted before 1608 for the Marchese Clemente Sannesi and his brother the Cardinal Jacopo.[3]
In the 'teens, Lanfranco's studio became quite
active, painting frescoes in the Palazzo Mattei and decorating the
Buongiovanni Chapel in Sant'Agostino (1616), which includes a
Correggesque Assumption, along with easel paintings. His Annunciation
(1615) in San Carlo ai Catinari in regarded as one of his best works.
Soon, Lanfranco became the pre-eminent painter of circle of Pope Paul
V. He painted frescoes for the Palazzo Costaguti and a large ceiling
fresco in quadratura at the Villa Borghese, The Gods of Olympus.
In
the following year, Lanfranco together with Agostino Tassi and Carlo
Saraceni decorated the Sala de' Corazzieri and Sala Regia of the
Palazzo del Quirinale. His formal Presentation at the Temple has the
sunlit Carraci-like style.[4] In 1622, he painted the Ectasy of Saint
Margaret of Cortona (Galleria Platina, Palazzo Pitti, Florence) as an
altarpiece for Santa Maria Nuova in Cortona, where Margaret live and
died. The painting could well have inspired the pose in Bernini's
famous St Theresa in ecstasy. In 1623-1624, he decorated the Sacchetti
Chapel in San Giovanni dei Fiorentini[5] in Rome.
While Paul
V's successor, Gregory XV, preferred works by Guercino and Domenichino,
Lanfranco won commissions for the Crucifix Chapel in Santa Maria in
Vallicella. Lanfranco's crowning masterpiece, however, and one of the
major church fresco decoration of the late 1620s, was his Assumption of
the Virgin frescoed on the dome of Sant'Andrea della Valle. Completed
in 1627 in sotto in su perspective, the crowded array of figures is a
landmark in Baroque painting with bright golden coloration and energy.
Lanfranco was influenced by Correggio's pioneering decoration of the
Duomo di Parma.
Council of the Gods
Frescoed Cupula of Sant'Andrea della Valle.
Urban
VIII commissioned him a large fresco portraying St. Peter Walking on
Waters (1628, now fragmentary), for which Lanfranco gained the title of
Knight of the Order of Christ. In 1631, Lanfranco was named Prince
(Principe) of the Academy of Saint Luke, the artist's guild in Rome.
There is also a fresco by Giovanni Lanfranco above the monument of Pope
Clement VIII in Santa Maria Maggiore in (Rome).
From 1634 to
1646, Lanfranco began decorating the dome and pendentives of the Jesuit
church of the Gesù Nuovo in Naples in 1634-1637. In 1637-1638, he
frescoed the nave and choir of the Certosa of San Martino. This was
followed by the decoration of Santi Apostoli in 1638-1646 and the dome
of the Cappella of San Gennaro in the Cathedral of Naples. These works
would invigorate the efforts of the grand manner Napolitan painters of
the second half of the 17th century: Preti, Giordano and Solimena.[6]
He died in Rome in 1647, where his last work was apse of San Carlo ai
Catinari.
Legacy and critical assessment
Lanfranco was
a versatile and eclectic trainee of the Carracci, and continued their
tradition with dramatic flair compared to the often restrained
Domenichino, who mimicked mainly Annibale's grand manner. Lanfranco
explored new styles, bridged traditions, painted in both mannerist and
baroque styles, using a tenebrist and the colorist palette. Among his
pupils was Giacinto Brandi.[7]
Selected works
Alexander tended by the doctor and Alexander refusing water to drink from his men[8]
Annunciation (c. 1615), San Carlo ai Catinari, Rome
Coronation of the Virgin with St. Augustine and St. William of Aquitaine[9]
Hagar in the wilderness (Louvre)[10]
Liberation of Saint Peter[11] (c. 1620-21), Birmingham Museum of Art, Alabama
Palazzo Quirinale frescoes[12]
Sources
Cropper, Elizabeth. Domenichino Affair. Washington: Center for Advanced
Study in the Visual Arts, National Gallery of Art.
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. 1980. Penguin Books. pp. 80–88.
Francis P. Smyth and John P. O'Neill (Editors in Chief) (1986). The Age
of Correggio and the Carracci: Emilian Painting of the 16th and 17th
Centuries. Washington: National Gallery of Art. pp. 483–493.
References
"Giovanni Lanfranco". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.
Now in the Capodimonte Museum in Naples; see Smith & O'Neil p. 484-6
Adoration of the Shepherds presently in Alnwick Castle
http://www.quirinale.it/palazzo/luoghi/immagini/annunziata/a-pm-dc-b-0002-23.htm
Smith & O'Neil p490-92
Wittkower p 357
Orlandi, Pellegrino Antonio; Guarienti, Pietro (1719), Abecedario pittorico, Naples, p. 182
[1][dead link]
"Coronation of the Virgin with St Augustine and St William of Aquitaine by LANFRANCO, Giovanni". Wga.hu. Retrieved 2014-03-05.
"Hagar in the Wilderness by LANFRANCO, Giovanni". Wga.hu. Retrieved 2014-03-05.
[2][dead link]
http://www.quirinale.it/palazzo/luoghi/immagini/salone/a-pm-dc-b-0008-38.htm
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