Giovanni Lanfranco (painter)

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Self-portrait by Giovanni Lanfranco, 1628 and 1632, Columbus Museum of Art

Giovanni Lanfranco (born January 26, 1582 in Parma , † November 30, 1647 in Rome ) was an Italian painter and draftsman . Above all, he was an important exponent of early baroque fresco painting . He is also known for his altar paintings and portraits of the Madonna.

Life

Lanfranco's dome frescoes in the Cappella di San Gennaro in the Cathedral of Naples

Lanfranco studied in Bologna with Agostino Carracci and in Rome with his brother Annibale Carracci . This provided Lanfranco with various commissions to design a palace for the Farnese family . Lanfranco later lived and worked in his hometown and in Piacenza , after which he returned to Rome. Here his growing reputation earned him numerous orders. The large dome painting of the Assumption of Mary with the Angelic Glory was particularly well received. It represents an immeasurable space of heaven and ends with a glory, the light of which pours out from the main character, the Eternal Father. At the end of his work he was overwhelmed with commissioned works and painted many pictures in a fleeting manner.

After completing a mosaic panel on the Altar della Navicella in St. Peter 's Basilica, Peter, walking with Christ on the sea , Lanfranco followed a call from the Jesuits to Naples in 1634 to paint the Gesù Nuovo church ; Since the dome collapsed a few decades later in an earthquake, these frescoes have unfortunately not been preserved. He stayed in Naples for about 10 years, where he painted a number of other important and much admired frescoes in other churches: the dome in the famous Capella del Tesoro di San Gennaro in the cathedral , and the ceiling frescoes in the Certosa di San Martino and in Santi Apostoli .

Lanfranco was in high favor with Popes Paul V and Urban VIII . His last work was the apse fresco of the Church of San Carlo ai Catinari in Rome.

Lanfranco died in Rome on November 30, 1647 at the age of 65.

Works

Lanfranco's greatest achievement lies in his frescoes, which are influenced by Correggio . His oil paintings show a bold imagination and brilliant color; In addition to great masterpieces, however, there are also insignificant works. It forms the transition from the school of Carracci to the manner of Pietro da Cortona . His pictorial motifs were primarily religious and mythological. Over fifty drawings have survived, mostly figure and detail studies in black chalk on gray-brown or bluish paper.

Rosary Madonna , 1638, Chiesa del Rosario, Afragola
  • Painting of the Palazzetto of Cardinal Odoardo Farnese in Rome (1602-1603) together with Annibale Carracci and Domenichino .
  • Painting of the Sala regia ( Salone delle Feste ) and the Cappella dell'Annunziata , with Guido Reni, Quirinal Palace , Rome, 1616
  • Glory of Paradise , Sant'Andrea della Valle , Rome, 1621–1625 (other sources: 1624–28), frescoes in the crossing dome
  • Paradise , frescoes, 1635–1636, Gesù Nuovo , Naples (lost)
  • Frescoes in the Certosa di San Martino , Naples
  • Dome fresco of the Cappella di San Gennaro ( Cathedral of Naples ), 1643
  • The Ascension of St. Charles Borromeo , San Carlo ai Catinari , Chorapsis, Rome, 1647
  • Altarpiece of the penitent Peter , Dresden, gallery
  • Altarpiece Vision of Saint Margaret of Cortona , Florence, Pitti Gallery
  • Altarpiece Farewell of the Apostles Peter and Paul , Paris, Louvre
  • Venus with putti , oil on canvas (tela romana), approx. 1627–32, 93 × 110 cm, private collection
  • Venus with Harp , ca.1630, Rome, Galleria Nazionale d'Arte Antica ( Palazzo Barberini )
  • Rosary Madonna , 1638, Chiesa del Rosario, Afragola
  • The Arrival of Citrus Fruits in the Gulf of Naples , 1639–1644, Berlin, Kupferstichkabinett

Illustrations

(Selection)

  • St. Agatha in prison, healed by Peter , 100 × 132.6 cm, Galleria nazionale , Parma, 1613–14

  • Annunciation , 74 × 54 cm, oil on copper, Hermitage , St. Petersburg, 1610–30

  • Resurrection of Christ , 1622

  • Relief of St Peter , 1620, 153.9 × 122.2 cm, Birmingham Museum of Art

  • The Miracle of the Multiplication , 229 × 426 cm, National Gallery , Ireland, 1620–23

  • Venus with the harp ( La Musica ), 214 × 150 cm, Galleria nazionale di Arte Antica ( Palazzo Barberini ), Rome, ca.1630

  • Three Capuchin saints and a holy bishop adore Christ and the cross , Frankfurt am Main, Städelsches Kunstinstitut and Städtische Galerie, 1630

  • Angelica cares for Medoro , oil on canvas, Tondo, private collection, 1647

  • Veritas , part of the copperplate engraving “Die Tugenden”, 1600–1625, Salzburg University Library, G 785 III

literature

Web links

Commons : Giovanni Lanfranco  - collection of images, videos and audio files

Remarks

  1. ↑ When the Palazzetto was demolished, parts of these frescoes were transferred to the neighboring church of Santa Maria dell'Orazione e Morte : Paulus of Thebes , Symeon Stylites and Anthony the Great

Individual evidence

  1. ↑ www.treccani.it Dizionario Biografico degli Italiani: Lanfranco, Giovanni , Istituto dell'Enciclopedia italiana (2004). Entry by Erich Schleier . Accessed August 18, 2013.
  2. ↑ a b c d e f Lanfranco - Art Encyclopedia of World Art History ( Memento from July 24, 2008 in the Internet Archive ), on infobitte.de
  3. ^ Works by Giovanni Lanfranco (painter) at Zeno.org . Accessed August 18, 2013.

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personal data
SURNAME Lanfranco, Giovanni
BRIEF DESCRIPTION Italian draftsman and painter
DATE OF BIRTH January 26, 1582
PLACE OF BIRTH Parma
DATE OF DEATH November 30, 1647
Place of death Rome