Viviano Codazzi: Difference between revisions
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Viviano most likely trained in Rome. He had moved by 1633 to Naples where he worked on commissions at the [[Certosa di San Martino]] resulting from his connections with his fellow Bergamasque [[Cosimo Fanzago]]. A major commission in Naples was a series of four large canvases representing ancient Roman scenes (including one depicting gladiatorial combats in the Colosseum) for the [[Palacio del Buen Retiro|Buen Retiro]] in Madrid, with figures by [[Domenico Gargiulo]]. Codazzi was essentially a painter of architecture, and the figures are always painted in by specialist figure painters. In Naples his principal collaborator for the figures was Gargiulo. |
Viviano most likely trained in Rome. He had moved by 1633 to Naples where he worked on commissions at the [[Certosa di San Martino]] resulting from his connections with his fellow Bergamasque [[Cosimo Fanzago]]. A major commission in Naples was a series of four large canvases representing ancient Roman scenes (including one depicting gladiatorial combats in the Colosseum) for the [[Palacio del Buen Retiro|Buen Retiro]] in Madrid, with figures by [[Domenico Gargiulo]]. Codazzi was essentially a painter of architecture, and the figures are always painted in by specialist figure painters. In Naples his principal collaborator for the figures was Gargiulo. |
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After relocating to Rome following the revolt of [[Masaniello]] in 1647, he collaborated with painters from the circle of [[Netherlands|Dutch]] and Flemish painters active in Rome, known as the ''[[Bamboccianti]]'', especially [[Michelangelo Cerquozzi]] and [[Jan Miel]]. He also collaborated with [[Filippo Lauri |
After relocating to Rome following the revolt of [[Masaniello]] in 1647, he collaborated with painters from the circle of [[Netherlands|Dutch]] and Flemish painters active in Rome, known as the ''[[Bamboccianti]]'', especially [[Michelangelo Cerquozzi]] and [[Jan Miel]]. He also collaborated with [[Filippo Lauri]], [[Adriaen van der Cabel]] and [[Vicente Giner]] during the 1660s. |
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Codazzi had several close followers, including [[Ascanio Luciano]] and [[Andrea di Michele]] in Naples, his son [[Niccolò Codazzi]] (1642–1693), [[Vicente Giner]] (who settled in Spain), and [[Domenico Roberti]]. In Northern Europe artists such as [[Wilhelm Schubert van Ehrenberg]], [[Jacobus Ferdinandus Saey]], [[Jacob Balthasar Peeters]], [[Antoon Gheringh]] and [[Jan Baptist van der Straeten]] were also influenced or inspired by his work.<ref name=rkd>[https://rkd.nl/explore/artists/17450 Viviano Codazzi] at the [[Netherlands Institute for Art History]] {{link language|nl|Middle Dutch}}</ref> |
Codazzi had several close followers, including [[Ascanio Luciano]] and [[Andrea di Michele]] in Naples, his son [[Niccolò Codazzi]] (1642–1693), [[Vicente Giner]] (who settled in Spain), and [[Domenico Roberti]]. In Northern Europe artists such as [[Wilhelm Schubert van Ehrenberg]], [[Jacobus Ferdinandus Saey]], [[Jacob Balthasar Peeters]], [[Antoon Gheringh]] and [[Jan Baptist van der Straeten]] were also influenced or inspired by his work.<ref name=rkd>[https://rkd.nl/explore/artists/17450 Viviano Codazzi] at the [[Netherlands Institute for Art History]] {{link language|nl|Middle Dutch}}</ref> |
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Revision as of 08:22, 25 April 2016
Viviano Codazzi (c. 1604–1670) was an Italian painter of quadratura (fictive architectural decoration), architectural paintings, capricci and ruin pieces, and some vedute during the Baroque period. He was active in Naples and Rome. He is also known in older sources as Viviano Codagora or il Codagora.
Life
Viviano Codazzi was born in Valsassina near Bergamo around 1604.[1] His family relocated to Rome by 27 March 1605.
Viviano most likely trained in Rome. He had moved by 1633 to Naples where he worked on commissions at the Certosa di San Martino resulting from his connections with his fellow Bergamasque Cosimo Fanzago. A major commission in Naples was a series of four large canvases representing ancient Roman scenes (including one depicting gladiatorial combats in the Colosseum) for the Buen Retiro in Madrid, with figures by Domenico Gargiulo. Codazzi was essentially a painter of architecture, and the figures are always painted in by specialist figure painters. In Naples his principal collaborator for the figures was Gargiulo.
After relocating to Rome following the revolt of Masaniello in 1647, he collaborated with painters from the circle of Dutch and Flemish painters active in Rome, known as the Bamboccianti, especially Michelangelo Cerquozzi and Jan Miel. He also collaborated with Filippo Lauri, Adriaen van der Cabel and Vicente Giner during the 1660s.
Codazzi had several close followers, including Ascanio Luciano and Andrea di Michele in Naples, his son Niccolò Codazzi (1642–1693), Vicente Giner (who settled in Spain), and Domenico Roberti. In Northern Europe artists such as Wilhelm Schubert van Ehrenberg, Jacobus Ferdinandus Saey, Jacob Balthasar Peeters, Antoon Gheringh and Jan Baptist van der Straeten were also influenced or inspired by his work.[2]
Viviano's son, Nicolo, born in Naples in 1642 and died in Genoa in 1693, was also a painter. Father and son were estranged after 1670.[3]
Work
Most of Codazzi's paintings are medium-sized paintings of architecture, either ruins, ideal architecture, or capricci, in a landscape setting. The type of decorative architectural paintings that Codazzi created represented a form that had become popular in mid-17th century Rome. The predecessor of this type of vedute can be found in 16th-century painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as 'quadratture'. These architectural elements gained prominence in 17th century painting to become stand-alone subjects of easel paintings.[4] The 'quadratture' frescoes of Agostino Tassi and the urban views of Claude Lorrain and Herman van Swanevelt, which he saw in Rome, may have stimulated Viviano Codazzi to start painting capricci.[1]
A number of artists practiced this genre. Viviano Codazzi was an important contemporary practitioner of the genre and his work influenced Alessandro Salucci.[4] Codazzi's vedute where more realistic in nature than those of Salucci who showed more creativity and liberty by rearranging Roman monuments to serve the purpose of his compositions.[5]
Codazzi's depiction of St. Peters Basilica dated 1636 is an unusual work as it is more a veduta, or topographical view than a capriccio.[6] It was painted in Naples and shows the old entrance to the Vatican palace, which was destroyed when Bernini's Scala Regia and colonnade were constructed, as well as clock towers (campanili) based on an engraving of a never-executed design by Martino Ferabosco. One of his best known paintings is a depiction of the Revolt of Masaniello in the Piazza del Mercato in Naples, with figures by Cerquozzi, painted for Cardinal Bernardino Spada in 1648 and now in the Galleria Spada in Rome.
References
- ^ a b Ludovica Trezzani. "Codazzi, Viviano." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 Apr. 2016
- ^ Viviano Codazzi at the Netherlands Institute for Art History Template:Link language
- ^ Le vie degli artisti : residenze e botteghe nella Roma barocca dai registri di Sant'Andrea delle Fratte, 1650-1699, by Laura Bartoni, Roma : Edizioni Nuova cultura, (2012), page 416.
- ^ a b Alessandro Salucci (Florence 1590-1655/60 Rome) and Jan Miel (Beveren-Waes 1599-1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's
- ^ Importante architettura di Alessandro Salucci (Firenze 1590-Roma dopo il 1650) at Antiquares Template:Link language
- ^ St Peters Basilica in the Prado Museum, Madrid
Further reading
- David R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome, Jandi Sapi, 1993
Other projects
Media related to Viviano Codazzi at Wikimedia Commons
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