Gioacchino Assereto

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Gioacchino Assereto (born October 18, 1600 in Genoa ; † June 28, 1650 there ) was an Italian painter of the Baroque period .

Life

Gioacchino Assereto's parents Giuseppe and Maxine Assereto lived in Genoa in Piazza Sarzano. Whether they with there and in Recco detectable silversmiths were related with the same name, is not known. On October 22, 1600, they had their son baptized in the parish church of San Salvatore. At the age of twelve Assereto started his apprenticeship with Luciano Borzone (1590-1645), but soon he switched to the workshop of Giovanni Andrea Ansaldo (1584-1638). At the age of sixteen he received his first assignment. In 1639 he went to Rome , but after a few months returned to Genoa, where he has since painted mainly frescoes and had great success as a painter.

Assereto was married to Maddalena Massone. Their first son Giovanni Battista was born on May 26, 1627, followed by two other sons named Giuseppe and Giovanni Francesco. The second son later also became a painter. Assereto lived in the Genoese district of Carignano until his death . The year of death of 1649, handed down by his biographer Raffaele Soprani (1612–1672), was corrected to 1650 in 1991 by the art historian Marta Ausserhofer based on archival sources.

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Since chronological references to Assereto's works are largely absent, dating them is difficult and often uncertain. His first painting was made in 1616 for the Oratorio di Sant 'Antonio Abate in Genoa. It depicts the patron saint, Saint Anthony of Padua , praying to drive away the devil. Further work for churches and monasteries in Genoa, Recco and Chiavari followed. In addition to Christian subjects and a few portraits, his pictures deal with subjects from mythology and the history of antiquity . From this it can be concluded that he had made contact with the intellectual circles of his hometown, in which his teacher Borzone frequented. Around 1630 he created two (now lost) history paintings that glorified Genoa's role in the Crusades .

Assereto's pictures often show violent depictions of violence painted in blood, such as the skinning of Saint Bartholomew , Cain's fratricide of Abel , the torture of Prometheus , the story passed down in Ovid's Metamorphoses , such as Medea Aison rejuvenates by cutting him into pieces, or the scene from Ri 16 , 21  EU , in which the Philistines poke out Samson 's eyes. In doing so, he was influenced by the drastic and expressive physicality of Caravaggio and Peter Paul Rubens . Earlier pictures, on the other hand, are reminiscent of Rembrandt with their gentle shapes and their brown tones . He moved away from the often monumental, theatrically staged tableaus of his teachers and showed rather narrower image details in his pictures, which present the essentials of the events depicted.

In the 17th century Assereto was considered Genoa's best painter, and his pictures were copied many times. When the plague raged in Genoa in 1656/57, many of his works were lost because interior furnishings were indiscriminately burned to protect against epidemics. In later centuries his reputation as a painter declined, which led to further image losses. A reassessment took place in the 1920s by the art historian Roberto Longhi (1890-1970), who pointed to Assereto's influence by Caravaggio and Mannerism and, in the expressiveness and painterly intensity of his mature pictures, a connection to Spanish painting, especially to Diego Velázquez (1599 -1660).

Paintings (selection)

literature

Web links

Commons : Gioacchino Assereto  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d Marta Ausserhofer: Archive notes on Gioacchino Assereto and other Genoese painters of the 17th century. In: Mitteilungen des Kunsthistorisches Institut in Florenz 35, Issue 2/3 (1991), p. 337.
  2. ↑ a b Assereto, Giovacchino . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker. tape 2 : Antonio da Monza-Bassan . Wilhelm Engelmann, Leipzig 1908, p. 199 ( Textarchiv - Internet Archive ).
  3. ↑ a b Franco Boggero: Assereto, Gioacchino. In: General Artist Lexicon . The visual artists of all times and peoples . Volume 5. Saur, Munich a. a. 1992, ISBN 3-598-22745-0 , p. 464 (accessed from De Gruyter Online).
  4. ↑ a b Martha Ausserhofer: Genoese history painting. Gioacchino Assereto and the Crusades. In: Mitteilungen des Kunsthistorisches Institut in Florenz 41, Heft 1/2 (1997), pp. 119–143.
  5. ↑ Illustration in Guy Tal: Witches on Top. Magic, Power, and Imagination in the Art of Early Modern Italy. ProQuest Dissertations Publishing, Ann Arbor 2006, p. 316.
  6. ^ A b Mary Newcome: An Unknown Early Painting and Some Other Works by Assereto. In: Yearbook of the Berlin Museums , 27, 1985, p. 75.
  7. ↑ Franco Boggero: Assereto, Gioacchino. In: General Artist Lexicon. The visual artists of all times and peoples . Volume 5. Saur, Munich a. a. 1992, ISBN 3-598-22745-0 , p. 465 (accessed from De Gruyter Online).
  8. ^ Mary Newcome: An Unknown Early Painting and Some Other Works by Assereto. In: Yearbook of the Berlin Museums , 27, 1985, p. 74.
personal data
SURNAME Assereto, Gioacchino
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH October 18, 1600
PLACE OF BIRTH Genoa
DATE OF DEATH June 28, 1650
Place of death Genoa