Cristoforo Roncalli

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Cristoforo Roncalli on an engraving after Ottavio Leoni from 1623

Cristoforo Roncalli called "il Pomarancio " ( September 8, 1552 in Pomarance - May 14, 1626 in Rome ) was an Italian painter between Mannerism and early Baroque . He spent most of his career in Rome.

There are two other painters who are also known as “Pomarancio”: Niccolò Circignani and his son Antonio .

Life

On his father's side, Roncalli came from a wealthy merchant family who had originally come to Pomarance from Bergamo . His parents were Giovanni Antonio Roncalli and Francesca Incontri. Cristoforo was the fourth of six children. His brother Donato, who according to Mancini (1621) was a lawyer, was evidently particularly close to him ; the two applied for citizenship in 1608 in Volterra and were granted it.

1570–72 Cristoforo worked in his hometown of Pomarance. Various sources and the necrology mention an apprenticeship in Florence , and in 1576 he painted an altarpiece for the Cathedral of Siena , where he stayed from 1579–80 on the occasion of several commissions.

Fresco decoration by Pomarancio (and workshop) in the apartment of Princess Isabella ( sala dell'alcova ) of the Palazzo Colonna , Rome

Developed on the basis of his Tuscan training Roncalli his personal artistic language that creates a balance between the harmonious balance of Raphael and the emotionalism Federico Barocci integrated sensitive and from the late 16th century chiaroscuro contrasts, presumably from the innovations of Caravaggio inspired .

1582-83 he was in Rome, where he worked in papal services in the loggias and in the Galleria Gregoriana of the Vatican Palace . A sketch with personifications of the winds in the Metropolitan Museum (New York) also proves his work in the Sala della Meridiana in the Tower of the Winds (1582). During this time, or during the (now lost) decorations of the Collegio Romano in 1583, his regular collaboration with Paul Bril began . His official Roman debut is the 1583 paintings in the Oratorio del Crocifisso in the church of San Marcello al Corso , where he was probably introduced by his compatriot Circignani .

In Santa Maria in Aracoeli he created two cycles in the following years: 1584–86 the life of St. Paul in the Cappella Della Valle , and between January 1588 and 1590 the Passion of Christ in the Cappella Mattei. Various sources since Giulio Mancini (1621) already see a stylistic change between these two cycles from mannerist narration and emphasis in the spirit of Girolamo Muziano to a naturalism inspired by Barrocci.

The Archangels Raphael and Tobias , fresco in the Cappella Rucellai in Sant'Andrea della Valle , Rome

From the end of 1588 Roncalli was a member of the Accademia di San Luca . Subsequently, with the support of Virgilio Crescenzi and Cardinal Cesare Baronio, he became the leading painter of the Oratorian Order of St. Filippo Neri , not only in Rome, but also in Naples - but little has survived from this collaboration. Crescenzi also chose Roncalli as a teacher for his sons, especially Giovan Battista Crescenzi. Roncalli received various commissions from Baronio for the Roman churches of Santi Nereo e Achilleo (1599) and San Gregorio al Celio (1603). In his painting The Saints Domitilla, Nereus and Achilles (for Ss. Nereo e Achilleo) he already treads baroque paths “without losing the grace of Barrocci”.

Roncalli's artistic position between tradition and future earned him the respect and admiration of important colleagues, including Peter Paul Rubens and Annibale Carracci , who praised his baptism of Constantine (1601) in San Giovanni in Laterano . Even Caravaggio and Roncalli are said to have appreciated each other.

From the end of the 16th century Roncalli received numerous commissions in Rome, which he managed with the help of his workshop and numerous employees, including in various aristocratic palaces, in the Lateran and templates for mosaics in the Capella Clementina of St. Peter's Basilica ( The Death of Ananias and Saffira , 1599 –1604, now in Santa Maria degli Angeli ). From August 1604 to spring 1605 he also worked on the illusionistic decoration of the dome of San Silvestro in Capite . In 1605 he painted the Rucellai family chapel in Sant 'Andrea della Valle - according to Baglione (1642) one of “the most beautiful things in Rome” ( una “delle più belle cose di Roma” ).

Ceiling decoration by Pomarancio in the Sala del tesoro of the Basilica of ( Loreto ) (1605–1609)

Shortly afterwards he traveled to Loreto , where he created one of his main works between 1605 and 1609 on behalf of Cardinal Antonio Maria Gallo , the rector of the Basilica of Loreto : The fresco decoration of the Sala del Tesoro with scenes from the life of Mary (1605-1609 ); later the dome frescoes of the basilica followed, which he completed in 1615, but which are no longer preserved. Cardinal Gallo gave the artist so much freedom that in 1606 Roncalli was able to travel to northern Europe with the Marchese Vincenzo Giustiniani; one of the party was also Marc 'Antonio Ferretti , of some madrigals wrote about lost today images Pomarancios.

In the first decade of the 17th century, Roncalli also created a number of works in Umbria , in Preci , Norcia , Foligno and Assisi .

1606-07 Pope Paul V. appointed Cristoforo Roncalli a cavalier (= knight). However, his successes and the fierce competition between the Roman painters also made him the target of some mocking poems, and in a 1607 trial Cavalier d'Arpino was charged with hiring people to aggressively attack Roncalli in the street.

Communion of St. Sylvester , oil on canvas, approx. 1605–15. Museo civico, Osimo (originally in the Church of San Silvestro)

After 1600, especially in the second decade of the 17th century, Pomarancio's painting developed in a more intimate direction, “with soft accents in the contrasts and a deepening of the chiaroscuro”. Examples of this are his San Carlo in prayer in the Palazzo Apostolico of Loreto or St. Nicola da Tolentino and the souls in the purgatory in Sant 'Agostino in Pesaro , as well as the self-portrait in the Uffizi .

On his many commissions in the Marche and Rome, Roncalli often worked with Pietro Paolo Iacometti, Giovanni Antonio Scaramuccia and above all Alessandro Prestati, whose son Roncalli's granddaughter Lisabetta married. They also helped decorate Cardinal Gallo's palace in Osimo in 1614 . After the cardinal's death, Roncalli was accused of the cooperation of his assistants, and in Loreto an official of the Apostolic See even wanted to withhold the agreed substantial wages for his work.

Although Pomarancio had health problems and financial worries on his return to Rome, he continued to take part in the city's artistic life: in October 1624, alongside Simon Vouet, he became vice-president and later rector of the school of the Accademia di San Luca , together with Cavalier d'Arpino , Antonio Tempesta , Giovanni Baglione and Gian Lorenzo Bernini .

He worked until the end and died on May 14, 1626. The honorable funerals took place in Santa Maria sopra Minerva before he was buried in his parish church of Santo Stefano del Cacco .

Works

Cristoforo Roncalli can be considered one of the most important Roman painters of his time. He painted both frescoes and oil paintings . His style is characterized by great elegance and agility and a softness and loveliness inspired by Correggio and Barrocci . Therefore, despite its Mannerist roots, it already shows clear tendencies towards the Baroque, which naturally become stronger after 1600. Many of his works are still on site in Italian churches and palazzi. His most important major works are mentioned in the biography above. The following is a selection of his works:

Mary and the baby Jesus in glory , fresco in the Sala del tesoro, Basilica of Loreto (1605–1609)
Annunciation , fresco in the Sala del tesoro of the Basilica of Loreto (1605–1609)

literature

Main source

17th century

  • Giulio Mancini: Considerazioni sulla pittura (1621), hrgg. by A. Marucchi, I, Rome 1956, p. 236 f ad ind., & II, 1957, ad ind.
  • G. Baglione: Le vite de pittori scultori et architetti. Dal pontificato di Gregorio XIII del 1572 in fino à tempi di Papa Urbano Ottavo nel 1642 (1642), ed. by V. Mariani, Rome 1935, pp. 288-292 & ad ind

20th & 21st centuries

  • AM Ambrosini Massari: Cristoforo Roncalli, il Pomarancio, tra Siena, Roma e le Marche , Ancona 2017
  • MG Aurigemma: "Documenti per Cristoforo Roncalli", in: Paragone, XLVI (1995), 539, pp. 74-88
  • D. Benati: "Per Guido Reni" incamminato "tra i Carracci e Caravaggio", in: Nuovi Studi , IX-X (2004-2005), 11, pp. 231-247
  • M. Calvesi: 1607: "Pomarancio a Loreto e Caravaggio tra Malta e Corfù", in: Storia dell'arte , 2010, no. 127, pp. 36-40
  • S. Capelli: "L'Assunta di Scipione Pulzone e Pomarancio nella Cappella Solano di S. Caterina dei Funari", in: Storia dell'arte , 2011, No. 128, pp. 16-21
  • F. Cappelletti: Paul Bril e la pittura di paesaggio a Roma, 1580-1630 , Rome 2006, p. 53 & ad ind.
  • M. Chiarini: "Dopo la mostra di Pietro Candido a Volterra (e una nuova proposta per Cristofano Roncalli, il Pomarancio)", in: Commentari d'arte, XVI (2010), 46-47, pp. 57-65
  • A. Cirinei: "Conflitti artistici, rivalità cardinalizie e patronage a Roma fra Cinque e Seicento", in: La nobiltà romana in età moderna: profili istituzionali e pratiche sociali , hrgg. v. MA Visceglia, Milan 2001, pp. 255-292
  • M. Francucci: "La sala del Pomarancio in palazzo Gallo a Osimo", in: Da Rubens a Maratta: le meraviglie del barocco nelle Marche, 2, Osimo e la marca di Ancona (Catal., Osimo), Cinisello Balsamo 2013, p . 244–247 (with bibliography on Roncalli's activity in the Marche)
  • M. Francucci: Cristofaro Roncalli il "Pomarancio": S. Cecilia, S. Margherita (Catal., Ariccia), ed. v. M. Francucci, Rome 2015, pp. 2-16
  • E. Giffi: "Cristoforo Roncalli, Matteo Zaccolini e Giuseppe Agellio in San Silvestro al Quirinale", in: Prospettiva , 1999, No. 93 + 94, pp. 99-108
  • E. Giffi: "La cupola di Cristoforo Roncalli, il Pomarancio 1609-1615", in: Ianua Coeli: disegni di Cristoforo Roncalli e Cesare Maccari per la cupola della basilica di Loreto (Catal.), Hrgg. v. ML Polichetti, Rome 2001, pp. 21-38
  • E. Giffi: "Precisazioni e aggiunte sul Roncalli decoratore", in: Bollettino d'arte , p. 6, 2004, no. 130, pp. 45-62
  • JEL Heideman: The Cinquecento chapel decorations in S. Maria in Aracoeli in Rome , Amsterdam 1982, ad ind.
  • WC Kirwin: Christofano Roncalli (1551 / 1552–1626), an exponent of the proto-baroque: his activity through 1605 , Ph. D., Stanford University, I – II, 1972a
  • WC Kirwin: "The life and drawing style of Cristofano Roncalli", in: Paragone, XXIX (1978), 335, pp. 18-62
  • O. Melasecchi: "Cristoforo Roncalli, Ludovico Leoni e la Congregazione dell'Oratorio romano", in: Storia dell'arte , 1998, No. 92, pp. 5-26
  • R. Morselli: "Bartolomeo Manfredi and Pomarancio: some new documents", in: The Burlington Magazine , 1987, Vol. 129, No. 101, pp. 666 f
  • Pittori a Loreto: committenze tra '500 e' 600: documenti , hrgg. v. F. Grimaldi and K. Sordi, Ancona 1988, p. 271 f & ad ind.
  • P. Pouncey: "A 'bozzetto' by Roncalli for his altar-piece in St Peter's", in: The Burlington Magazine , 1977, Vol. 119, No. 888, p. 225
  • M. Pupillo: "Alla ricerca dell'Accademia dei Crescenzi", in: Intrecci virtuosi. Letterati, artisti e accademie tra Cinque e Seicento: Roma e Firenze , hrgg. v. C. Chiummo - A. Geremicca - P. Tosini, Rome 2017, pp. 169-179
  • L. Sickel: "Artist rivalry in the shadow of St. Peter's Dome. Giuseppe Cesari d'Arpino and the assassination attempt on Cristoforo Roncalli", in: Marburger Jahrbuch für Kunstwissenschaft , 2001, No. 28, pp. 159–189
  • L. Sickel: "Cristoforo Roncalli in S. Maria in Aracoeli: the contract with Paolo Mattei to furnish the Cappella della Pietà", in: Mitteilungen des Kunsthistorisches Institut in Florenz , 2013, vol. 55, no. 3, p. 463– 471
  • M. Spagnolo: "Barn-owl painters in St Peter's in the Vatican, 1604: three mocking poems for Roncalli, Vanni and Passignano (and a note on the breeches-maker)", in: Journal of the Warburg and Courtauld Institutes , 2010 , No. 73, pp. 257-296
  • J. Spinelli: "Regesto dei documenti", in: Nicolò Cercignani, Cristofano Roncalli, pittori di Pomarance , hrgg. v. RP Ciardi, Volterra 1992, (o.p.)
  • F. Sricchia Santoro: "Cristoforo Roncalli", in: L'arte a Siena sotto i Medici (Catalog, Siena), Rome 1980, pp. 57-66
  • P. Tosini: "Un cammeo per gli 'intrecci virtuosi' tra artisti e letterati: Marc'Antonio Ferretti poeta accademico e Cristoforo Roncalli pittore", ibid., Pp. 195-212.
  • L. Turčić: "Cristofano Roncalli in the Sala della Meridiana", in: The Burlington Magazine , 1981, Vol. 123, No. 943, pp. 614-617

Web links

Commons : Cristoforo Roncalli  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  2. ↑ Mancini, 1621, 1956, p. 236 and Kirwin, 1972a, p. 513, here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  3. ↑ According to Kirwin, 1978, p. 26, nota 58, here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  4. ^ According to Cappelletti, 2006, p. 53; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  5. ^ According to Heideman, 1982, pp. 69–110, here after: Anna Maria Ambrosini Massari: “RONCALLI, Cristoforo, detto Pomarancio”, in: Dizionario Biografico degli Italiani , Volume 88, 2017
  6. ↑ according to Sickel, 2013; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  7. ↑ Baglione, 1642, 1935, p. 364 f; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  8. ↑ Furlotti, 2003, pp. 508-512; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  9. ↑ Mention this: Mancini, 1621, 1956, p. 237; and Kirwin, 1979, pp. 36-38, No. 41ab + 42ace; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  10. ↑ According to Benati, 2004–2005, pp. 231–247; and Kirwin, 1978, p. 25; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  11. ↑ Kirwin, 1972a, p. 454; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  12. ^ According to Baglione, 1642, 1935, p. 291; and Giffi, 2004; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  13. ↑ Baglione, 1642, 1935, p. 289; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  14. ↑ Chiappini di Sorio, 1983, pp. 95-98; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  15. ↑ Chiappini di Sorio, 1983, pp. 14-18, 30; and Tosini, 2017; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  16. ↑ Barroero, 1989, pp. 259-264; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  17. ↑ Francucci, 2013; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  18. ↑ Aurigemma, 1995, p. 77 f; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  19. ↑ Bolzoni, 2013, p. 111, nota 300; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  20. ↑ Mancini, 1621, 1957, p. 133; Chiappini di Sorio, 1983, p. 32; Tosini, 2017, p. 199 f; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  21. ↑ Baglione, 1642, 1935, p. 292; here after: Anna Maria Ambrosini Massari: "RONCALLI, Cristoforo, detto Pomarancio", in: Dizionario Biografico degli Italiani , Volume 88, 2017
  22. ↑ L. Mozzoni & G. Paoletti: Jesi "Città bella sopra un fiume" , Ed. Comune di Jesi, 1994
  23. ^ Romano Cordella: Norcia e territorio
personal data
SURNAME Roncalli, Cristoforo
ALTERNATIVE NAMES Pomarancio; il Pomarancio; Roncalli, Cristofano
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH September 8, 1552
PLACE OF BIRTH Pomarance , Italy
DATE OF DEATH May 14, 1626
Place of death Rome , Italy