Domenico Fetti

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Domenico Fetti: Jacob's dream of the ladder to heaven , 60.5 × 44.5 cm, approx. 1619, Kunsthistorisches Museum , Vienna

Domenico Fetti (also Feti ; * 1588 or 1589 in Rome , † April 16, 1623 in Venice ) was an Italian painter of the early Baroque . Since most of his works originated in Mantua , he was also called Mantuano .

Life

His date of birth is not known, but it follows from the information that he was about 34 years old at his death on April 16, 1623 (Archivio di Stato di Venezia, Necrologio n. 58, Provveditori alla Sanità n. 852) that he was around Must have been born in 1588/89. His father Pietro Fetti was also a painter and probably came from Ferrara . Domenico Fetti had a younger sister Giustina, who later entered the Ursuline convent in Mantua under the name Lucrina, and who was also a painter; his brother Vincenzo was a priest.

It is very likely that Domenico learned the basics of painting from his father Pietro. Later, according to Mancini (1621), he was a pupil of A. Commodi and there is evidence that he studied with Ludovico Cigoli in Rome, where he came into contact with the latest artistic trends of his time. a. with the works of Caracci , Caravaggio , Barocci , Orazio Borgianni , Adam Elsheimer and also Rubens .

Around 1607 he probably painted eight allegorical scenes for Duke Marzio Colonna - Caravaggio's most important patron - for the Palazzo Colonna in Zagarolo (now in the Palazzo Pallavicini Rospigliosi , Rome).

Portrait of an Actor (Tristano Martinelli or Francesco Andreini), 105.5 × 81 cm, oil on canvas, 1621–22, Hermitage , St. Petersburg

From 1610-11 he worked for the oratorian monks in the Chiesa Nuova , and also created a portrait of the blessed Filippo Neri for the Duke of Bavaria. A depiction of the Pentecostal miracle , which he created for the Capuchin Church in Taggia (Imperia) in 1611 , is his only surviving work that is dated (“ Dominicus Fettus Fecit Romae 1611 ”).

Around the same time, Fetti met his most important patron, Cardinal Ferdinando Gonzaga , who not long after became Duke of Mantua . A letter from Ferdinando of October 1613 to Cardinal Alessandro Damasceni Peretti di Montalto shows that Domenico Fetti was studying with the Jesuits in Rome at that time . Probably on behalf of Cardinal Montalto, the painter created the altarpiece Angels in Adoration of the Madonna (today: Walters Art Gallery , Baltimore) for the Cappella Mainardi in San Lorenzo in Damaso , which he completed in early 1614.

Probably in 1614 Ferdinando Gonzaga appointed Fetti as court painter and successor to Rubens to Mantua, where he came into contact with the Venetian paintings of Titian , Tintoretto , Veronese and Bassano in the first-class ducal collections . This was a crucial experience for his own painting. From then on he worked primarily for the Gonzaga court and received commissions from Mantuan churches such as Santa Maria Gentile or SS. Trinità; the resulting paintings are now partly in museums. The monumental vault frescos in the apse in Mantua Cathedral were long considered a work of Fetti, but have now been ascribed to Antonio Maria Viani after restoration .

Melencholia (or Maria Magdalena?), 179 × 140 cm, Louvre , Paris

Fetti's successful pictorial inventions were often copied from his workshop. B. his Melancholy from 1618 (2 versions in the Accademia , Venice; and in the Louvre , Paris) or the dream of Jacob from around 1619 ( Kunsthistorisches Museum , Vienna; and Institute of Arts, Detroit ), of which numerous copies exist and the was also a prototype for similar works by other artists. Fettis David was also very successful with the head of Goliath (including in the Gemäldegalerie , Dresden).

Domenico's assistants included his sister Lucrina, his brother Vincenzo and his father Pietro, as well as the painter Motta ("Camillo"), Giovanni Battista Barca and Dionisio Guerri from Verona and the French Michele Mattei di Borgogna.

After his sisters Giuliana Ferdinanda (called Caterina) and Lucrezia Vittoria (called Brigida) had entered the monastery of Santa Chiara in Migliareto near Mantua in August 1618, Domenico deposited 800 scudi with the abbess for their maintenance. Fetti's friends included the Florentine actor GB Andreini, who dedicated his comedy La venetiana to him, which was performed in 1619 at the Teatro San Cassiano in Venice.

Fetti was also an important portraitist , and his portrait of the actor Francesco Andreini ( Hermitage , St. Petersburg) is one of the most famous and important works of Italian portraiture of the 17th century. For the ancestral gallery in the Palazzo Ducale in Mantua, he created 23 portraits, of which only the portraits of Francesco II Gonzaga , fourth Marquis of Mantua (?) And of Federico II Gonzaga , first Duke of Mantua (?) Have survived (in Veltrusy Castle , Czech Republic; and Kunsthistorisches Museum , Vienna).

Tobias heals his father , 66.7 × 85 cm, 1623, Hermitage, St. Petersburg

Particularly famous is his series of 13 small-format parables or parables from the Gospel , created between 1618 and 1621 , which were originally intended for the Studiolo of Isabella d'Este , but soon found their place in Duke Ferdinando's apartment (the so-called "Paradise") at the Corte Vecchia of the Palazzo Ducale. Today you can find them in various museums. In recognition of his achievements, Duke Ferdinando gave him a house on November 30, 1620 in the Contrada dell'Aquila, near the so-called Sugar Tower (" Torre dello Zucchero ").

In the summer of 1621 Fetti traveled - probably not for the first time - to Venice to purchase some paintings on behalf of Duke Ferdinando. Finally, on August 28, 1622, the painter moved suddenly and permanently to Venice. The reasons for this break are not entirely clear, even if he tried to justify himself in a letter to Ferdinando Gonzaga on September 10 of the same year. He tried to persuade his court painter to return to Mantua through intermediaries.

In the lagoon city, Domenico Fetti was a protégé of Senator Giorgio Contarini dagli Scrigni, who also promoted Carlo Saraceni . It was also a major official assignment under discussion for the Senate.

After only a few months, however, Domenico's health deteriorated dramatically and he died on April 16, 1623, on Easter day , in his apartment in the municipality of San Simeone Grande in Venice. Funeral masses were celebrated for him in Mantua, and the speech given by GA Martinelli was published that same year. Domenico Fetti's grave is unknown.

Work / appreciation

Domenico Fetti, who died too early, was one of the most important painters of his time and one of the "founders of the Northern Italian Baroque". In his early work he was still influenced by his teacher Cigoli and the Roman Caravaggists , as well as by Annibale Carracci . He followed a naturalistic ideal. Already in Rome he learned a relaxed style of painting through works by Rubens and Barocci, in which the color was in the foreground, in the sense of Venetian painting with its masterful use of color and light.

Flight into Egypt , 63 × 80.5 cm, oil on poplar wood, 1622–23, Kunsthistorisches Museum, Vienna

In this sense, after his stay in Mantua at the latest, he finally came under the influence of Titian , Tintoretto and Veronese through the ducal collections , and on these foundations he created a very personal, independent Baroque style with fragrant, often soft brushwork, charming plays of light and shadow and appealing scenes, some of which were already very successful in his day. A tendency towards melancholy and elegiac moods is also considered typical .

His small-format pictures, which are evidently influenced by Adam Elsheimer , are particularly attractive . His parables had a certain influence on baroque landscape painting .

Despite his only very short stay in Venice, he not only created some of his greatest masterpieces there, but also had a not inconsiderable influence on Venetian painting together with Johann Liss and Bernardo Strozzi . The painters of the late baroque and rococo , such as Sebastiano Ricci and Gian Battista Piazzetta , but also the Bolognese Giuseppe Maria Crespi, particularly benefited from his role model .

Some of Domenico Fetti's pictures were probably executed by his sister Lucrina Fetti according to his designs, this applies in particular to the two parables The Prodigal Son ( National Gallery of Art , Washington) and Lazarus and the rich Epulone (in auction at Finarte, Milan, 16 . – March 25, 1968, No. 13).

gallery

  • Philosopher (Archimedes?) , 98 × 73.5 cm, oil on canvas, Gemäldegalerie Alte Meister , Dresden

  • St. Louis of Toulose , 1613, Palazzo Ducale , Mantua

  • Penitent Mary Magdalene , 99 × 77 cm, oil on canvas, 1615, Museum of Fine Arts , Boston

  • Moses and the burning bush , 168 × 112 cm, oil on canvas, 1613–17, KHM , Vienna

  • Mystical wedding of St. Catherine with St. Dominic and Peter , 229.5 × 140.5 cm, oil on canvas, 1618–1620, KHM , Vienna

  • David with the head of Goliath , 160.7 × 99.1 cm, oil on canvas, 1620s, Swedish National Museum , Stockholm

  • The Good Samaritan , 67.3 × 83.5 cm, around 1622, Museum of Fine Arts , Boston

  • Parable of the lost coin , 55 × 44 cm, oil on wood, 1618–22, Gemäldegalerie Alte Meister, Dresden

  • Parable of the splinter and the beam , 61.3 × 44.1 cm, oil on panel, c. 1619, Metropolitan Museum of Art , New York

  • Penitent Maria Magdalena , 98 × 78.5 cm, 1617–1621, Galleria Doria Pamphilj , Rome

Works

  • Santa Maria Egiziaca and San Girolamo , Royal Collection , Hampton Court , 1611 (?)
  • Weeping Peter , Kunsthistorisches Museum , Vienna, ca.1613
  • Cleopatra's suicide , Fabrizio Lemme Collection, Rome, around 1613
  • David with the head of Goliath , Academy of Fine Arts , Nuremberg, around 1613
  • Ino (or Leucotea ), Veltrusy Castle , Czech Republic, around 1613
  • Ecce Homo , Uffizi Gallery , Florence, around 1613
  • St. Francis comforted by an angel playing music , Gemäldegalerie Alte Meister , Dresden, 1614
  • Due angeli contriti (originally for Santa Maria Gentile, Mantua), Galleria Estense , Modena, 1614-15;
  • Vision of St. Martin , Church of San Quirino, Correggio , 1614-16
  • Frescoes in Mantua Cathedral (?)
  • Presentation of the Virgin Mary in the Temple , (originally for the Church of SS. Trinità) Palazzo Ducale , Mantua, 1615–1616
  • Madonna with Child and Saints Anselm and Karl Borromeo (originally for the Palazzo della Ragione, Mantua) Amministrazione Istituti Gonzaga, Mantua
  • Christ blessing and eleven apostles , Palazzo Ducale, Mantua, 1616–1618
  • Four scenes from the Passion of Christ , Galleria Corsini, Florence , 1617–18 (partly from the workshop)
  • Melancholy , 2 versions: Accademia , Venice; and Louvre , Paris, ca.1618
  • David with the head of Goliath , Accademia, Venice, 1617–19 (numerous replicas and copies)
  • Dream of Jacob , 2 versions: Kunsthistorisches Museum, Vienna; and Institute of Arts, Detroit, around 1619
  • Vision of St. Peter of the unclean animals , Kunsthistorisches Museum, Vienna, around 1619 (only partially preserved)
  • Mystical wedding of St. Katharina with St. Dominikus and Petrus Martyr , Kunsthistorisches Museum, Vienna, 1618–20
  • Feeding the five thousand (also: miraculous increase of bread and fish ; for the refectory of the convent of Santa Orsola), Palazzo Ducale, Mantua, 1618–1620
  • Penitent Maria Maddalena , Galleria Doria Pamphilj , Rome, 1618–1620
  • Portrait of Vincenzo Avogadro , Buckingham Palace , London, 1620
  • Portrait of a Man with Music Sheet , Getty Center , Los Angeles, circa 1620
  • Portrait of an Actor (Tristano Martinelli or Francesco Andreini), 1621–22, Hermitage , St. Petersburg
  • Portrait of a 52 year old woman , private collection
  • 13 parables or parables from the Gospel , (various museums), approx. 1618–21, oil on panel, including:
    • Parable of the workers in the vineyard , Gemäldegalerie Alte Meister, Dresden
    • Parable of the lost coin , Gemäldegalerie Alte Meister, Dresden
    • The Prodigal Son , Kunsthistorisches Museum, Vienna
    • Parable of the precious pearl , Musée des Beaux-Arts de Caen
    • The Good Samaritan , Museum of Fine Arts , Boston
    • Lazarus and the Rich Epulone , National Gallery of Art, Washington
    • Parable of the Sliver and the Beam , Metropolitan Museum of Art , New York
  • Bacchus and Ariadne on Naxos , private collection, approx. 1618–21
  • Perseus and Andromeda , Hero and Leander , Galatea and Polyphem , Kunsthistorisches Museum, Vienna, 1621–22
  • Tobias and the Angel , Old Masters Picture Gallery, Dresden, 1621–22
  • Tobias heals his blind father , Hermitage, St. Petersburg, 1621–22
  • Martyrdom of St. Agnes , Gemäldegalerie Alte Meister, Dresden, 1622–23
  • Martyrdom of St Fermo and Rustico , Wadsworth Atheneum , Hartford, Connecticut, 1622–23
  • Salvator mundi , private collection, New York, 1622–23
  • Escape to Egypt , Kunsthistorisches Museum, Vienna, 1622–23
  • San Simeone , Robert & Bertina Suida Manning Collection, New York, 1623

literature

  • Fetti (also Feti), Domenico , in: Lexikon der Kunst , Vol. 4, Karl Müller Verlag, Erlangen, 1994, pp. 259-260
  • Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: p. 545-548
  • Gabriello Milantoni: Fetti, Domenico , in: Dizionario Biografico degli Italiani - Volume 47 , 1997, online on Treccani (Italian; accessed April 5, 2020)
  • Domenico Fetti - Italian painter , in: Encyclopaedia Britannica online (English, accessed April 5, 2020)
  • Domenico Fetti , in: Meyers Konversations-Lexikon , 4th edition from 1888 to 1890.

Web links

Commons : Domenico Fetti  - collection of images, videos and audio files
Wikisource: Domenico Fetti in the catalog of the Königliche Gemäldegalerie zu Dresden (1887)  - sources and full texts

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 ad ae af ag ah Gabriello Milantoni: Fetti, Domenico , in: Dizionario Biografico degli Italiani - Volume 47 , 1997, online in Treccani (Italian; accessed April 4, 2020)
  2. ↑ a b c d e f Fetti (also Feti), Domenico , in: Lexikon der Kunst , Vol. 4, Karl Müller Verlag, Erlangen, 1994, pp. 259–260
  3. ↑ a b c Domenico Fetti - Italian painter , in: Encyclopaedia Britannica online (English, accessed on April 5, 2020)
  4. ^ Domenico Fetti , in: Meyers Konversations-Lexikon , 4th edition from 1888 to 1890.
  5. ↑ a b c Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: 545
  6. ↑ Studio Calzolari: Affresco - Apoteosi della Redenzione - Domenico Fetti - Mantova - Duomo - Abside - Volta , [www.lombardiabeniculturali.it/fotografie/schede-complete/IMM-2s010-0000092 Download] (Italian; accessed April 11, 2020 )
  7. ↑ Paolo Bertelli: Un importante restauro nel duomo di Mantova - Antonio Maria Viani torna a risplendere , in: La Reggia - giornale della società del Palazzo Ducale , Anno V, No. 2, April 1997, online at Academia (Italian; accessed on 11 April 2020)
  8. ↑ Viani, Antonio Maria , on arcadja.com (Italian), viewed April 20, 2020
  9. ↑ Giovanni Pasetti: Una mescolanza di stile , article on the cathedral of Mantua, online (Italian; accessed April 11, 2020)
  10. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: 547
  11. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: 545 and 547
  12. ↑ Stefania Mason: The Venetian Painting from the late 16th to 17th Century , in: Giandomenico Romanelli (Ed.): Venice - Art and Architecture , Vol. 2, Könemann, Cologne, 1997, pp. 524-575, here: 548 -551
personal data
SURNAME Fetti, Domenico
ALTERNATIVE NAMES Feti, Domenico
BRIEF DESCRIPTION Italian Baroque painter
DATE OF BIRTH 1588 or 1589
PLACE OF BIRTH Rome
DATE OF DEATH April 16, 1623
Place of death Venice