Gaspare Landi
Gaspare Landi (born January 6, 1756 in Piacenza ; † February 27, 1830 ibid) was an Italian painter of classicism .
Life
He was born the second child of Ercole Landi and Maria Francesca Rizzi and had four siblings. Although the father was of aristocratic origin and the mother came from a high background, the family situation in Gaspares childhood and adolescence was marked by financial worries, his father even had to go to prison for a time because of debts .
The family then went to Brescia , where the father found work as a tailor and the mother and sisters lived in a convent . Gaspare was entrusted to his uncle Emanuele, who lived as an official at the ducal court of Parma . Landi attended a Jesuit school until 1768 (until the order was suppressed), after which he attended a public school. He received his first artistic training from the painter G. Bandini in Piacenza, after which he continued his education, partially self-taught , and also attended a private art school in Brescia (with his father). After 1772 he continued his training in Piacenza, initially with A. Porcelli, a painter who specialized in glass painting . Together with his friend, the decorator and set designer M. Nicolini, Landi independently studied the works of old masters such as Guercino , Pordenone , Procaccini and Ludovico Carracci using engravings .
On August 20, 1774 he married Diana Giuseppa Albanesi, with whom he had two sons: Alfonso (born June 10, 1775) and Pietro Antonio (December 26, 1777).
In the following years various devotional images , battles and portraits were created , only a few of which are known of images of saints in Santa Maria di Campagna. Around 1780 Gaspare painted an equestrian portrait of Marchese A. Scotti di Fombio , which earned him the protection of Marchese Giovanni Battista Landi delle Caselle. The latter financed a study visit to Rome , where he met his patron's sister , Marchesa R. Landi della Somaglia, on June 20, 1781 .
In Rome, Landi was a student of Domenico Corvi and Pompeo Batoni , and studied the theoretical writings on painting by Anton Raphael Mengs . In addition, he independently studied the Roman antiquities on site.
For his patron, the Marchese Landi, he painted various pictures as proof of his progress, including: Prometheus on the cliff (1782, Monza, Musei civici), Paris with the nymph Aenone (1783) and Alexander gives Campaspe to Appelles (1785–1787 ).
In the 1780s Landi also won several awards: in 1783 the price of the Accademia of Parma with the night scene robbery of Palladio (Parma, Galleria Nazionale), and in 1788 the Primo Curlandese of Bologna, on the subject of Aegeus recognizes Theseus . These successes in turn led to several international commissions: in 1785 he painted the pictures Ariadne and Bacchus , Thetys and Peleus , Amor and Psyche and The Rape of Proserpina for the Piedmontese Prince A. Dal Pozzo della Cisterna , and this followed in 1786 for the Marquis de Créquy Painting by Francesca da Rimini (all lost). In 1788 he painted a Vergine Addolorata for the Basilica di Loreto , whose current whereabouts are unknown (as of 2018).
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Since history painting was relatively time-consuming and expensive, Gaspare Landi subsequently concentrated primarily on devotional pictures and portraits, with which he was so successful that he was able to rival Angelika Kauffmann , whom he also valued very much because of her graceful " Grazioso "style, which was far removed from the heroic repertoire of the students of the Académie française in Rome.
Landi also succeeded in making important contacts with the educated society of Rome, such as Prince Sigismondo Chigi (1736–1793) and the archaeologist Ennio Quirino Visconti , of whom he also made a double portrait with the Prince on horseback (Rome, private collection). Together with them, Landi also visited excavation sites and Visconti also acted as an advisor for Landi's painting Aesculap in 1795 , with regard to a Greek-ancient atmosphere that was as true to the original as possible. Landi had a particularly fruitful and long-lasting friendship with the architect O. Boni and with the comedy writer GG De Rossi, the editor of the art journal Memorie per le belle arti , which was financed by Chigi.
In 1790 Landi stayed in Piacenza, where he made a picture for the church of Santa Maria in Torricella. During this trip he was introduced by Count Malaspina di Sannazaro in Milan to Prince A. Barbiano di Belgiojoso , whom he also portrayed. In addition, during this stay, which lasted until June 1791, he also met Andrea Appiani , and painted other portraits of members of the Belgiojoso house, the Milanese court and Princess Maria Beatrice d'Este .
In 1792 Landi was back in Rome. In 1795 his son Alfonso, who had just graduated from the Sapienza , died. Landi was also friends with Antonio Canova , who had influenced him artistically since the 1780s. a. in his picture Amor und Psyche (approx. 1794–96; Museo Correr , Venice).
When the French arrived in Rome in 1798, Landi withdrew as a precaution to Piacenza, where he again devoted himself to various portraits.
Back in Rome, after the election of Pius VII as Pope, he received several important church commissions, such as the Assumption of Mary for the parish church of Castell'Arquato (1806). In 1804 his paintings Il trasporto della Vergine and The Discovery of the Empty Tomb were exhibited in the Pantheon with great success. In the same year he signed a contract for the monumental painting Ascent to the Calvary for the Church of San Giovanni in Canale in Piacenza; for the counterpart The Presentation in the Temple , Landi himself suggested his friend Vincenzo Camuccini . The two pictures were exhibited at the same time in 1809 in the Pantheon and challenged an academic style comparison, whereby Landi was seen as the heir to the Venetian coloring and the Lombard chiaroscuro , and Camuccini as the epigone of the Tuscan-Romanesque Disegno . In his academic speech given in Bologna in 1811, Pietro Giordani also compared the dignity and solemnity of Camuccini with the chromatic color palette and the emotionality of Landi.
In 1809 he took part in an exhibition at the Capitol and was chosen by the Napoleonic-French government to decorate the new imperial residence in the Quirinal Palace . Together with Camuccini, Canova, R. Stern, Vivant Denon and M. Daru, he was responsible for the choice of the iconographic program and the artists involved. At the end of the same year he himself received the order for a picture Napoleon negotiates the armistice of Znojmo with Prince Liechtenstein . He also painted two pictures for the Sala dello Zodiaco (Hall of the Zodiac) from 1811 to 1813 : Pericles, surrounded by artists and philosophers, visited the work on the Partenon and Harun al Raschid in his tent with the wise men of the Orient , both of which allude to the arts and sciences promoted by Napoleon were intended (today: Benevento , Museo del Sannio).
Landi has now received numerous orders. In 1812 his painting Venus and Mars (current whereabouts unknown) was exhibited for the Marquis Giovanni Battista Sommariva in the Paris Salon . Afterwards the painter was in Milan and Pavia , and was busy with the execution of various portraits, including one of the viceroy Amalie Auguste of Bavaria (whereabouts unknown). In 1813 he painted The Three Marys at the Tomb of Christ for Count B. Mandelli , which later passed into the possession of the King of the Netherlands Louis Bonaparte and, after the restoration, to the gallery in Florence ( Palazzo Pitti ). From 1817 to 1819 he created the painting Veturia at the feet of Coriolanus for the Duchess of Lucca , Maria Luigia di Borbone (today: Florence, Galleria d'arte moderna , 1817-19).
Gaspare Landi held the chair of painting at the Accademia di San Luca in Rome from 1812 to 1827 , and was also its president between 1817 and 1820. Similar positions had previously been offered to him several times by institutes in Lisbon (1786), Bologna , Milan and Venice - but he had turned them all down by then. After Landi had waived his salary at the Accademia because he considered it inappropriate to take one in view of his social position, Canova, as director of the academy, gave him his apartment and studio in the Sant'Apollinare monastery, where the School.
Between 1820 and 1824 Landi retired to Piacenza, where he had acquired some land. He then returned to Rome, where he painted an Immaculate Conception for the Church of San Francesco di Paola in Naples on behalf of Ferdinand I of Bourbon ; completion was delayed until 1828, also due to the painter's health problems.
Gaspare Landi died in Piacenza on February 27, 1830.
Among his many students were Tommaso Minardi, G. Silvagni and CM Viganoni and Michele Ridolfi .
Works (selection)
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- Prometheus on the cliff , Monza , Musei civici, 1782
- Rape of Palladio , Parma, Galleria nazionale , 1783
- Vergine Addolorata , formerly in the Basilica di Loreto , now missing, 1788
- Double portrait of Prince Sigismondo Chigi and the archaeologist Ennio Quirino Visconti , Rome, private collection, around 1790
- Tobias and Sara
- The Burial of the Blessed Virgin , Piacenza Cathedral
- Hebe , Brescia, Pinacoteca civica Tosio-Martinengo, 1790
- Agar , Cappella Colleoni, Bergamo , 1790-91
- Hector and Paris and The Meeting of Hector and Andromaca , Piacenza, Istituto Gazzola, 1794
- The painting is crying at the ballot box Raphael , Milan , Pinacoteca Ambrosiana , 1795
- Amor and Psyche , Museo Correr , Venice, approx. 1794–96
- Ariadne and The Wedding of Sarah , Parma, Pinacoteca nazionale
- Self-portrait with Giovanni Battista Landi , private collection
- Jacob and Laban , Milan, Civica Galleria d'arte moderna , 1797
- Group picture of the Landi family in conversation , Turin , Collezione D'Albertas, 1798
- Portrait of Count G. Rota , Piacenza, Museo civico , 1798
- Saints George and Joseph , Church of Le Mose, Piacenza
- Portrait of Antonio Canova , Galleria Borghese , Rome, 1806
- Assumption of the Virgin , Collegiata di Castell'Arquato , 1806
- Oedipus in Kolon (formerly Munich, Messinger Collection)
- Alkibiades , Budapest , Szépművészeti Múzeum , 1806
- Ascent to the Calvary , in the Church of San Giovanni in Canale, Piacenza, 1809
- Death of Camilla , Rome, Collezione L. Taverna, 1809
- Napoleon negotiates the armistice of Znojmo with Prince Liechtenstein , from 1809
- Pericles, surrounded by artists and philosophers, visits the work on Partenon and Harun al Raschid in his tent with the Wise Men of the Orient (originally for the Quirinal in Rome), Benevento , Museo del Sanni, 1811–1813
- Apotheosis of Hercules , private collection, 1813
- The three Marys at the tomb of Christ , Florence , Palazzo Pitti , around 1813
- Jesus before the scribes , Piacenza, Museo civico, 1812–16.
- Vetturia at the feet of Koriolan , Florence, Galleria d'arte moderna, 1817–19
- Immaculate Conception , in the Church of San Francesco di Paola , Naples
- Farewell to Maria Stuart of Paris (whereabouts unknown), 1827
literature
- Stefano Grandesso: "LANDI, Gaspare", in: Dizionario Biografico degli Italiani, Volume 63 , 2004, online , accessed on November 30, 2018 (Italian; source of this article)
Web links
Individual evidence
- ↑ 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 ai aj ak al am an ao Stefano Grandesso: "LANDI, Gaspare" , in: Dizionario Biografico degli Italiani, Volume 63 , 2004, online , accessed November 30, 2018
| personal data | |
|---|---|
| SURNAME | Landi, Gaspare |
| ALTERNATIVE NAMES | Landi, Gasparo |
| BRIEF DESCRIPTION | Italian painter |
| DATE OF BIRTH | January 6, 1756 |
| PLACE OF BIRTH | Piacenza |
| DATE OF DEATH | February 27, 1830 |
| Place of death | Piacenza |