Andrea Vaccaro

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Encounter of Rebekka and Isaac , 195 × 246 cm, Museo del Prado

Andrea Vaccaro ( baptized on May 8, 1604 in Naples , died on January 18, 1670 ) was an Italian Baroque painter and in his day one of the most successful painters in Naples, which was then under Spanish rule . He and his workshop mainly produced religious paintings for local clients and for export to Spain .

Life

Little is known about Andrea Vaccaro's youth. He was born in Naples as the son of Pietro 'Baccaro' ( sic ) and Gioanna di Glauso. His father was a lawyer . Andrea initially devoted himself to literary studies before turning to art. In the past, the late Mannerist painter Girolamo Imparato was thought to be his teacher. However, since it is known that Imparato died in 1607, it is also clear that he could not have been Vaccaro's teacher. Instead, he began his apprenticeship with Giovanni Tommaso Passaro at the age of 16. No works have survived from this early phase.

St. Rosalia of Palermo , 228 × 179 cm, Museo del Prado , Madrid

On February 16, 1628 his daughter Angela Geronima was baptized; Nothing is known about his first wife or marriage (as of 2018).

Vaccaro's paintings from the early 1620s show a clear influence of Caravaggio and his Neapolitan followers. He is also said to have copied Caravaggio's Flagellation of Christ (now Museo di Capodimonte ). Both his copy and the original are said to have been hung in San Domenico Maggiore - but there are scientists who deny that the copy came from Vaccaro. After 1630 he came into contact with works by Guido Reni , Anthonis van Dyck and Pietro Novelli . He made copies of these for Neapolitan collectors and Flemish art dealers in Naples such as Gaspar Roomer and Jan Vandeneyden. Vaccaro was probably also an art dealer himself, which was relatively common among the Neapolitan painters of this era.

On April 17, 1639 Andrea married the 24-year-old Anna Criscuolo (his second wife?), And a year later, on March 13, 1640, their son Tomaso Domenico Nicola was born. He later also became a painter and is known as Nicola Vaccaro .

Rosary Madonna with St. Dominic and Catherine , Museo diocesano , Naples

Andrea Vaccaro was now very successful and almost every collection in Naples had at least one painting by him; he also had patrons in other regions of Italy. From 1635 he began to export devotional and altar paintings for religious orders and noble patrons to Spain. He was also favored by the Spanish viceroy Gaspar de Bracamonte, 3rd Count of Peñaranda.

When Naples was struck by a plague epidemic in 1656, in which the population was decimated by about half, the important artists Bernardo Cavallino and Massimo Stanzione , with whom Andrea Vaccaro was closely connected, also died. He himself continued to receive many commissions, including the only frescoes he has ever painted for the Theatine Church of San Paolo Maggiore in Naples.

In 1665 Vaccaro was one of the founders and head of the brotherhood Congrega dei SS Anna e Luca , a kind of painters' guild whose purpose was, among other things, to support Neapolitan artists. Between 1650 and 1670 Vaccaro had a great influence on Neapolitan painting with his art, alongside Massimo Stanzione , the leading artist of the time, and the young Luca Giordano , who was still in his early days.

In the last years of his life from 1657 Andrea Vaccaro also belonged to the Confraternita dei Bianchi of the Conservatorio della Pietà dei Turchini , and was a governatore of the aforementioned Conservatorio and the associated church of the Pietà dei Turchini .

His students included Giacomo Farelli and Giuseppe Fattoruso , and possibly also Andrea Malinconico , whose best man he was and who shows clear stylistic affinities to Vaccaro.

plant

Only two paintings by Andrea Vaccaro are known that bear a full signature with the year: The Vision of St. Teresa of the Golden Necklace ( Prado , Madrid) and St. Luke paints the Virgin and Child , painted for the Corporation of Painters of Naples. Another picture only bears the year: The Communion of St. Mary of Egypt (in Santa Maria Egiziaca a Forcella ).

The Triumph of David , 212 × 253 cm, 1645–1650, Musée d'art et d'histoire (Geneva)

Many of Vaccaro's pictures are monogrammed , consisting of his initials A and V, with the left 'leg' of the A above the left part of the V, and vice versa on the right. However, the middle line of the A is omitted, so that the two letters form a rhombus in the middle. Sometimes there is also a small triangle on both sides of the monogram, as can also be found in Latin inscriptions for abbreviations and / or for hyphenation.

With the current state of research, it is relatively difficult to identify a real “Andrea Vaccaro” because its stylistic development has not yet been sufficiently investigated. The fact that he ran a large workshop that assisted him in the production of his works or made copies makes attributions even more problematic.

As already mentioned, Vaccaro was influenced in his beginnings by Caravaggio or the Neapolitan Caravaggists, especially with regard to Chiaroscuro effects and the naturalistic representation of the figures. From 1630 on, he combined this with the more classic ideals of painters such as Guido Reni, van Dyck and Pietro Novelli. His tenebrism became lighter and less harsh, possibly also under the influence of Pietro da Cortona . In paintings like his Old Testament scenes, an influence from Nicolas Poussin seems to be recognizable. His color palette always kept something dark and subdued. Among the Neapolitan artists, he is also close to the elegant manner of Bernardo Cavallino , whom Vaccaro knew and with whom he worked in the second half of the 1640s.

Vaccaro always remained in contact with the important artistic trends of his time and in his late work seems to have drawn inspiration from Luca Giordano's brilliant colors or Mattia Preti's play with light and shadow.

Picture gallery

  • St. Stephen is led to his martyrdom , 97 × 120 cm, approx. 1630–1640, private collection

  • Saint Agathe , 128.5 × 101 cm, around 1635, Prado , Madrid

  • Flagellation of Christ , 191.8 × 151.5 cm, Staatsgalerie Schleißheim

  • Adoration of the golden calf , 208 × 260 cm, ca.1650, Museo di Capodimonte, Naples

  • Rinaldo and Armida (detail), 177 × 260 cm, 1640–1650, Museo di Capodimonte, Naples

  • St. Cayetan refuses the offer of gold coins , 123 × 76 cm, Museo del Prado

  • Lamentation of the dead Christ , Museo diocesano, Naples

List of works (selection)

Resurrection of Lazarus , ca.1640, Indianapolis Museum of Art

In museums or private collections:

  • Encounter between Rebekka and Isaac , 195 × 246 cm, ca.1650, Museo del Prado
  • St. Rosalia of Palermo , 228 × 179 cm, Museo del Prado, Madrid
  • Assumption of St. Januarius , 207 × 154 cm, Museo del Prado, Madrid
  • St. Cajetan before the Holy Family , 123 × 76 cm, ca.1660, Museo del Prado, Madrid
  • * St. Cayetan refuses the offer of gold coins , 123 × 76 cm, Museo del Prado, Madrid
  • Saint Agathe , 128.5 × 101 cm, around 1635, Prado , Madrid
  • Adoration of the golden calf , 208 × 260 cm, ca.1650, Museo di Capodimonte , Naples
  • Rinaldo and Armida , 177 × 260 cm, 1640–1650, Museo di Capodimonte, Naples
  • Lamentation of the dead Christ , 126 × 177 cm, Museo Diocesano of Naples
  • The Virgin Mary prays for the souls in the purgatory , 412 × 315 cm, approx. 1660, Museo Diocesano, Naples (originally in Santa Maria del Pianto)
  • Martyrdom of St. Bartholomew , 159 × 179 cm, Museo Diocesano, Naples (originally for the Arciconfraternita dell'Immacolata Concezione in Sant'Eframo Nuovo)
  • St. Agathe , Museo civico Gaetano Filangieri (Palazzo Como), Naples
  • Pietà , Museo Diocesano of Bari
  • St. Mary Magdalene , Galleria Regionale Palazzo Abatellis, Palermo
  • Penitent Magdalena , 102 × 76 cm, Hermitage , Saint Petersburg
  • Martha and Maria , 116 × 97 cm, around 1640, Pushkin Museum , Moscow
  • Resurrection of Lazarus , ca.1640 (?), Indianapolis Museum of Art
  • Martyrdom of St. Sebastian , 129.5 × 101.5 cm, approx. 1640. Canesso Gallery
  • Flagellation of Christ , 191.8 × 151.5 cm. State Gallery Schleissheim
  • Crucifixion , Gemäldegalerie Berlin
  • Tobias with the Archangel Raphael , Museu Nacional d'Art de Catalunya , Barcelona
  • Tobias heals his blind father , 200.5 × 264 cm, Museu Nacional d'Art de Catalunya, Barcelona
  • Susanna and the two old people , 153.5 × 206 cm (auctioned on April 19, 2016 at Dorotheum, Vienna)
  • Martyrdom of St. Agathe , 122 × 159 cm, approx. 1635–1640, Musée Fabre , Montpellier

In churches:

King Midas , 71 × 54 cm, ca.1670, Dorotheum

literature

  • Filippo De Boni: Bibliografia degli artisti ovvero dizionario della vita e delle opere dei pittori, degli scultori, degli intagliatori, dei tipografi e dei musici di ogni nazione che fiorirono da'tempi più remoti sino á nostri giorni . Seconda Edidione, Andrea Santini e Figlio. Venice, 1852. p. 1037. Retrieved February 8, 2015 (Italian)
  • Riccardo Lattuada: Vaccaro, Andrea. In: Grove Art Online, Oxford Art Online . Oxford University Press, on the web, May 31, 2016 (English)
  • Achille della Ragione: Lo specialista del decoltè: Andrea Vaccaro , Naples, 2014 (Italian)
  • Andrea Vaccaro - Opera completa , Naples, 2014 (Italian)
  • Anna Kiyomi Tuck-Scala: The Documented Paintings and Life of Andrea Vaccaro (1604-1670) . Graduate Program: Art History Degree: Doctor of Philosophy, Dissertation, Date of Defense: August 20, 2003, The Pennsylvania State University (English)
  • Harold E. Wethey: The Spanish Viceroy, Luca Giordano , & Andrea Vaccaro . In: The Burlington Magazine , 1967, pp. 678–687 (English)
  • Catalog of the Pictures, which Formed the Collection of Joseph Capece Latro, Ancient Archbishop of Taranto, & c. in the Kingdom of Naples : Now Exhibited in the City Dispensary, in White Street, for the Benefit of that Charitable Institution By New York Dispensary, New York, New York Dispensary, Giuseppe Capecelatro Published by sn, 1835, p. 25 (English)
  • Alfonso De Romanis: Vaccaro, Andrea . In: Enciclopedia italiana . 1937 (online) , accessed November 24, 2018

Web links

Commons : Andrea Vaccaro  - Collection of images, videos and audio files

Individual evidence

  1. ^ A b c d Riccardo Lattuada: "Vaccaro, Andrea.", In: Grove Art Online . Oxford Art Online. Oxford University Press, on the web, accessed May 31, 2016
  2. ↑ a b c d e f g h Anna Kiyomi Tuck-Scala: The Documented Paintings and Life of Andrea Vaccaro (1604–1670) . Graduate Program: Art History Degree: Doctor of Philosophy, Dissertation, Date of Defense: August 20, 2003, The Pennsylvania State University
  3. ↑ a b Filippo De Boni: Bibliografia degli artisti ovvero dizionario della vita e delle opere dei pittori, degli scultori, degli intagliatori, dei tipografi e dei musici di ogni nazione che fiorirono da'tempi più remoti sino á nostri giorni . Seconda Edidione, Andrea Santini e Figlio. Venice, 1852, p. 1037 (accessed February 8, 2015)
  4. ↑ a b Andrea Vaccaro's picture Susanna and the two old people in the Dorotheum
  5. ↑ Luca Bortolotti: “MALINCONICO, Andrea” , in: Dizionario biografico degli italiani , Volume 68, Istituto dell'Enciclopedia Italiana, Rome, 2007
personal data
SURNAME Vaccaro, Andrea
BRIEF DESCRIPTION Italian baroque painter
DATE OF BIRTH baptized May 8, 1604
PLACE OF BIRTH Naples
DATE OF DEATH January 18, 1670