Neapolitan School (painting)

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Massimo Stanzione: Girl in Neapolitan Costume with Rooster , 1635, Fine Arts Museums of San Francisco

In the history of art, the Neapolitan School is a separate school of painting in the southern Italian city of Naples and in the former Kingdom of Naples . The heyday ranged from the late 16th to the 18th century.

It is a separate expression of the fine arts, which over the course of time, under the influence of some leading protagonists, assumed different style variants and also exerted a not inconsiderable influence on the rest of Italian, Spanish and European painting, especially from the late 17th century also on the art of frescoes .

For the many churches in the city and private patrons, a large proportion of religious painting was created, which, in addition to the usual Christian scenes and images of the Madonna, is also characterized by depictions of typically Neapolitan patrons such as San Gennaro or Saints Lucia and Rosalia . In a naturalistic way, figures from the common people are also prominently included in the composition. During the 17th century, mythological scenes also became increasingly popular.

history

Before 1500

Roberto d'Oderisio : Giovanna I of Anjou marries Luigi di Taranto , detail of the frescoes in Santa Maria Incoronata , Naples

The most important biographer of Neapolitan painting until the 18th century was Bernardo De Dominici (1683-1759), who in his Vite dei Pittori, Scultori, ed Architetti Napolitani (1742-1745) more or less treated all painters since the Middle Ages ever had left their mark on Naples. Despite its somewhat remote, southern location, Naples came into contact at the beginning of the 14th century with the revolutionary innovations in painting that were being introduced by Tuscan painters at that time . As early as 1308, Carlo II of Anjou had called Giotto's successor Pietro Cavallini to Naples, who left an important cycle of frescoes in San Domenico Maggiore . Originally from Siena , Simone Martini (1284-1344) was court painter to the Neapolitan ruling family of the Anjou for a few years , and painted some works on their behalf in Assisi and Siena, in Naples himself he created a St. Louis of Toulouse for San Lorenzo in 1317-18 Maggiore (today: Museo di Capodimonte , Naples). Giotto (1267 or 1276–1337) created between 1328 and 1331 in the monastery of Santa Chiara and in the Capella Palatina of Castel Nuovo some frescoes, which are only rudimentary preserved after several earthquakes and the bombs of the Second World War . In the succession of Giotto there are frescoes by an unknown master in the church of San Pietro a Majella and Roberto d'Oderisio's frescoes in the small church Incoronata .

Among the most important painters who worked in the 15th century in Naples belong Colantonio (about 1420-after 1460), the teacher of Antonello da Messina , and from Milan originating Leonardo da Besozzo , who along with Antonio da Fabriano and Perinetto since Benevento painted the Cappella Caracciolo del Sole in San Giovanni a Carbonara . However, by then one cannot speak of a Neapolitan school of painting.

16th Century

Raphael's so-called Madonna with the Fish (around 1512–14), originally in San Domenico Maggiore in Naples; today at the Prado , Madrid

Before the emergence of actual Neapolitan painting with its own stylistic features and leading masters of paramount importance, painters from other regions came to the southern Italian capital during the Renaissance and left some significant marks, including Spanish painters such as Pedro Fernández (called “Pseudo-Bramantino “) And Pedro Machuca or the Leonardo student Cesare da Sesto . Antonio Solario (around 1465–1530) painted a large cycle of frescoes about the life of St. Benedict in Santi Severino e Sossio (poorly preserved). Also Polidoro da Caravaggio (. To 1499/1500-ca 1543) worked temporarily in Naples and the surrounding area. Giorgio Vasari (1511–1574) created an important early mannerist decoration in the former refectory (today: sacristy) of Sant'Anna dei Lombardi in 1544–1545 .

Some famous painters from the northern art centers of Italy were never in Naples themselves, but since the beginning of the 16th century masterpieces such as Perugino's Assumption of Mary in the Cathedral (c. 1506) and the Assumption of Mary by Pinturicchio in the Cappella have been in some of the city's churches Tolosa of the Monteoliveto Monastery (1510; today in the Museo di Capodimonte ). Raphael's Madonna del Pesce (approx. 1512), which adorned an altar in San Domenico Maggiore before it came into the possession of the Spanish kings in the middle of the 17th century, had a considerable influence on the style ideal of Neapolitan painting in the 16th century (today in the Prado , Madrid).

Against this background, a local school of painters gradually developed, the first of which is considered to be Andrea Sabatini (or "da Salerno", approx. 1480 – approx. 1531) from Salerno, who also trained other painters in his workshop, in particular Giovan Filippo Criscuolo (active from around 1525 to around 1550). Even Giovanni Antonio Amato d. Ä. (1475–1555) had several students who played a certain role in the Neapolitan art scene in the mid-16th century, including Giovanni Bernardo Lama (1508–1579), Pietro Negroni (1505–1567) and Cesare Turco (1510–1560 ).

Marco da Siena : The Archangel Michael , Sant'Angelo a Nilo , Naples

In Mannerism already led to a first flowering of painting in Naples, which is, however, little research is still relatively and were among the Foreign still many artists, including Dutch as Cornelis Smet († 1592), Aert Mytens (1556-1602) and Teodoro d'Errico (aka Dirk Hendricksz, 1544–1618), who lived in the city for decades and left many works in an Italian-influenced style. The main work of d'Errico are the paintings of the ceiling of San Gregorio Armeno . One of the most important founders of the Neapolitan school can be seen as the mannerist Marco Pino (around 1525 – around 1587) from Siena, who worked in Naples and the surrounding area from 1552 at the latest with a few interruptions and had numerous students, including Fabrizio Santafede (1555–1626 ).

In Naples, apart from the Museum of Capodimonte, Neapolitan painting of the 16th century can be found in the churches of San Giovanni a Carbonara , Santi Severino e Sossio , Sant'Anna dei Lombardi , Gesù Vecchio , Gesù delle Monache , and in the cathedral .

Important painters in Naples in the 16th century were:

  • Andrea Sabatini: St. Nicholas of Bari (ca.1514), Museo di Capodimonte

  • Giovan Filippo Criscuolo: Polyptichon of Capodimonte (1545)

  • Pietro Negroni "il Zingarello": Mystical wedding of St. Catharine , Museo d Bellas Artes, Buenos Aires

  • Aert Mytens: Madonna of the Rosary , approx. 1582–84, Museo di Capodimonte

Flowering time in the early baroque

Fabrizio Santafede: St. Peter heals Tabitha , 1611, Pio Monte della Misericordia

In the last decade of the 16th century in Naples (as in Rome) tendencies towards renewal in the sense of an early baroque classicism became noticeable. The most important protagonist of this development was Fabrizio Santafede , who overcame Mannerism and already introduced Tenebristic tendencies and popular figures in his religious works. He also had an influence on early baroque painting, u. a. through his students, including Massimo Stanzione . Cavalier d'Arpino came from Rome in the 1590s - at that time one of the leading and most modern painters - and exercised a considerable influence with his classical frescoes in the Certosa di San Martino . a. on the Greek-born Belisario Corenzio , who is considered the founder of the great baroque fresco painting of Naples, and was the leading fresco artist for decades from around 1590 until the arrival of Domenichino .

Painters whose work leads to the early Baroque were:

Caravaggio: Flagellation of Christ , 1607-09, Museo di Capodimonte , Naples (once in San Domenico )

Neapolitan painting received a decisive stylistic impulse from Caravaggio , who came to Naples for a short time in 1606 as an exile. He quickly became one of the city's most famous artists, notably through his painting The Seven Works of Mercy in the Church of Pio Monte della Misericordia . His naturalistic tenebrism quickly found radical followers in Naples, such as Battistello Caracciolo (1578–1635) in particular . The dark backgrounds and strong shadows of the Caravaggists also had a clear long-term influence on the painters of the Neapolitan school.

After Caravaggio's brief interlude in the city, other painters also had a considerable influence on Neapolitan painting. One of the leading painters of Naples in the first half of the 17th century was the Spaniard Jusepe de Ribera (1591–1652), who also had a great influence on other artists of the era, both in Naples and in his home country - as it was due to the Spanish rule over Naples already gave strong cultural ties to Spain. Other Neapolitan painters such as Fabrizio Santafede, Andrea Vaccaro (1600–1670) and later Luca Giordano (1634–1705) received commissions from Spanish collectors, monasteries and churches; Based on the current state of knowledge (2019), more precise statements about a Neapolitan influence on Spanish painting, which was flourishing at the same time, are not yet possible.

In the 1620s to 1640s, several other important painters also worked in Naples, such as Artemisia Gentileschi (1593–1653), who was also associated with Massimo Stanzione (around 1586 – around 1656) - the leading head of the Neapolitan school in the early Baroque alongside Ribera.

Dome frescoes by Lanfranco and Domenichino in the Cappella di San Gennaro , Cathedral of Naples

Painters of the Roman-Emilian school, such as Domenichino (1581–1641) and Giovanni Lanfranco (1582–1647) worked for years in Naples and created much admired paintings in Neapolitan churches, above all in the Capella del tesoro di San Gennaro in the cathedral , as well as in the Certosa di San Martino , Santi Apostoli and Gesù Nuovo . Her work not only had a lasting influence on Neapolitan fresco painting, but also generally led to a more classical orientation, with figures that are still realistic, but at the same time also follow a southern Italian ideal of beauty, and a certain lightening of the color palette. At the same time, the Tenebroso style of the Caravaggists continued to have an effect for a long time and is still noticeable even with high and late baroque masters such as Luca Giordano or Francesco Solimena .

The Neapolitan painting of the early Baroque (around 1600–1660) is naturalistic and true to detail and also depicts folk motifs. These motifs are also used in religious pictures and the figures are depicted in a realistic way. The following painters are counted as belonging to the Neapolitan School in the early Baroque (up to around 1660):

Onofrio Palumbo: San Gennaro asks the Holy Trinity for protection for Naples , 1640–60, Santissima Trinità dei Pellegrini , Naples

In addition, as elsewhere, there are many anonymous works that were created in Naples and are stylistically close to one or the other representative of the school, but cannot be assigned by name.

  • Battistello Caracciolo: Baptism of Christ , 1610, Museo dei Girolamini , Naples

  • Jusepe de Ribera "il Spagnoletto": Lamentation of Jesus , 1637, Certosa di San Martino , Naples

  • Francesco Fracanzano: Triumph of Bacchus , approx. 1635–40, Museo di Capodimonte , Naples

  • Bernardo Cavallino: The Ecstasy of St. Cecilia , 1645, Museo di Capodimonte

  • Aniello Falcone: Alms of St. Lucia , approx. 1630–50, Museo di Capodimonte

  • Andrea Vaccaro: Susanna and the Elders , 1650s (whereabouts unknown)

Paolo Porpora: Still life with owl and ibis , Louvre , Paris

Some important masters of the still life also came from Naples :

High and late baroque

The great plague epidemic of 1656 caused a certain break in the history of painting in Naples , when a number of important painters died, some of them still young: Massimo Stanzione (* around 1586), Aniello Falcone (* 1607), Pacecco de Rosa (* 1607) and his brother-in-law Agostino Beltrano (* 1607), Francesco Fracanzano (* 1612) and Bernardo Cavallino (* 1616).

Around the same time, Mattia Preti (1613–1699), who was trained in Rome and Northern Italy, and the young but ingenious Luca Giordano (1634–1705), two important painters who filled the gap and led to a stylistic renewal in the spirit of the High baroque. Both were influenced by painters such as Guercino and Pietro da Cortona , which led to a more relaxed, fragrant brushwork and a lighter, more luminous color palette and richly moving compositions. Preti not only received a particularly large number of commissions because of the gap that had arisen, he also painted seven city gates of Naples with votive images of the Madonna and Child and Saints Gennaro and Rosalia and became the leading painter for several years.

Luca Giordano: Alms of St. Tommaso da Villanova , approx. 1680–90, Museo di Capodimonte (formerly in: Sant'Agostino degli Scalzi)

Preti only stayed in the city until around 1660/61, but Giordano, who ran a huge workshop and had numerous students, developed into a kind of Neapolitan painter prince who and also took on significant commissions from other regions and countries ( Florence , Spain ) Had influence on international painting, u. a. on the art of frescoes in Venice , Spain, Austria and Germany. All of the younger painters in Naples were influenced to some extent by Giordano, including Francesco Solimena , who was not a direct pupil of his at all, and who is considered a leading master of the Neapolitan school in the late 17th and early 18th centuries, along with Paolo De Matteis and Nicola Malinconico . Giacomo del Pò (1654–1726) is an artist in his own right , with a very fragrant, poetic brushwork that foreshadows the sometimes "pre-impressionist" painting style of the Rococo . The sphere of activity of most of these painters also went beyond the borders of the Kingdom of Naples.
The younger generation from Francesco De Mura (1696–1782) began to follow more classicist ideals again.

A typical Neapolitan expression of genre painting , partly with Buffonese echoes, was created in the Rococo with Giuseppe Bonito (1707–1789), Filippo Falciatore (proven 1718–1768) and the brilliant Gaspare Traversi (1722 / 23–1770). Bonito and Traversi stylistically reverted to the Tenebristic naturalism of the Neapolitan early baroque.

Important representatives of the Neapolitan school in high and late baroque are:

See also

literature

  • Bernardo De Dominici: Vite de pittori, scultori e architetti napolitani , 1744, reprint: Bologna, 1979, online as an ebook (last accessed April 14, 2019; Italian; important source for this article)
  • Francesco Abbate: Storia dell'arte nell'Italia meridionale, III, Il Cinquecento , Rome 2001, "online as Googlebook" (Italian; accessed April 29, 2019)
  • Gabriele Bickendorf u. a .: Baroque in Naples. Paintings by the Neapolitan School of the 17th and 18th centuries from the holdings of the Staatsgalerie Stuttgart . Galerie der Stadt, Kornwestheim 1995 (catalog of the exhibition of the same name, Kornwestheim December 1, 1995 to January 14, 1996).
  • Good short biographies of most of the artists mentioned can be found in the Dizionario degl'italiani , online at "treccani.it" (here: biography "Corenzio, Belisario"), last accessed on April 14, 2019 (Italian)
  • La Certosa e il Museo di San Martino , ed. v. Ministero per i Beni e le Attività Culturali, Electa Napoli, 2002. (Italian)
  • Loredana Gazzara: Napoli . Mondadori-Electa, Milan, 2007 (Italian)
  • Nicola Spinosa (ed.): Museo Nazionale di Capodimonte , ed . from: Soprintendenza per i Beni Artistici e Storici di Napoli, Electa Napoli, Naples 1994 (Italian)
  • Touring Club of Italy (ed.): Naples and the Amalfi Coast ( Heritage Guides to Italy ), Milan 2003

Individual evidence

  1. ^ Compare: Neapolitan School . In: Heinrich August Pierer (Gre.): Pierer's Universal Lexikon, Volume 19 . Altenburg 1865, p. 874.
  2. ↑ A list of the artists treated by De Domenici with page numbers can be found at the end of the book. Bernardo De Dominici: Vite de pittori, scultori e architetti napolitani , 1744, reprint: Bologna, 1979, online as an ebook (last accessed April 14, 2019; Italian)
  3. ^ Loredana Gazzara: Napoli . Mondadori-Electa, Milan, 2007, p. 36
  4. ↑ Michela Becchis: "MARTINI, Simone" , in: Dizionario Biografico degli Italiani , Volume 71, 2008. (Italian; accessed April 14, 2019)
  5. ↑ Loredana Gazzara: Napoli , ..., 2007, pp. 30, 93, 124.
  6. ↑ Loredana Gazzara: Napoli , ..., 2007, p. 93 ff.
  7. ↑ Loredana Gazzara: Napoli , ..., 2007, p. 110 f
  8. ↑ "Chiesa di San Giovanni a Carbonara" on "napoligrafia" , sub-item: Cappella Carraciolo del Sole , seen on March 12, 2019 (Italian)
  9. ↑ a b c d Andrea Zezza: "SABATINI, Andrea, detto anche Andrea da Salerno", in: Dizionario Biografico degli Italiani, Vol. 89 , 2017, online at "treccani.it" , (accessed on April 15, 2019)
  10. ↑ Francesco Abbate: Storia dell'arte nell'Italia meridionale, III, Il Cinquecento , Rome 2001, pp. 83-91 for the influence of Fernández and Machuca, "online as Googlebook" (accessed April 28, 2019)
  11. ^ "Solario, Antonio", in "Encyclopaedia Britannica, 1911" , viewed April 15, 2019.
  12. ↑ In one of the cloisters of “Santi Severino e Sossio”, see information on “napoligrafia” , seen on April 15, 2019. The text refers to: Maria Rosaria Costa: I chiostri di Napoli , Rome, Newton & Compton, 1996
  13. ↑ Caldara, Polidoro . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker . tape 5 : Brewer-Carlingen . EA Seemann, Leipzig 1911, p. 377-380 ( Text Archive - Internet Archive ).
  14. ↑ Known as the "Sacristy of Vasari" ( sagrestia del Vasari ); the church was originally called "Monteoliveto". Loredana Gazzara: “Monteoliveto”, in: Napoli . Mondadori Electa, Milan 2007, pp. 88-91
  15. ^ Bernardo de Dominici: Vite d'pittori, scultori ed architetti napoletani. Volume 2, Naples 1743, pp. 52-58 ( gdz.sub.uni-goettingen.de digitalisat) = 2nd edition Naples 1843, volume 2, pp. 103-112.
  16. ↑ Amato, Giovanni Antonio d ', d. Ä. In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present . Founded by Ulrich Thieme and Felix Becker. tape 1 : Aa – Antonio de Miraguel . Wilhelm Engelmann, Leipzig 1907, p. 380 ( Textarchiv - Internet Archive ).
  17. ↑ As of 2019
  18. ^ Loredana Gazzara: Napoli . Mondadori-Electa, Milan, 2007, p. 74 f.
  19. ↑ Luca Bortolotti: "Marco di Giovanni Battista (Marco Pino)" , in: Dizionario Biografico degli Italiani, Volume 69 , 2007 (last accessed on April 15, 2019).
  20. ↑ a b c d Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on April 15, 2019
  21. ↑ Note del bello dell'antico e del curioso della città di Napoli raccolte dal canonico Carlo Celano , volume I, (Ed .: Giovan Battista Chiarini), Stamperia Floriana, 1856, online on books.google.it , p. 154, last accessed on November 15, 2018
  22. ↑ Bernardo De Dominici: "Vita di Fabrizio Santafede Pittore, ed insigne Antiquario", in: Vite de 'pittori, scultori e architetti napolitani, vol. I & II , Ricciardi, 1745, pp. 223–236, here: pp. 235–236 online as an ebook , last accessed on April 15, 2019
  23. ↑ Herwarth Roettgen : CESARI, Giuseppe, detto il Cavalier d'Arpino , in: Dizionario Biografico degli Italiani , Volume 24, 1980, online in Treccani , (Italian; viewed April 15, 2019)
  24. ↑ Francesco Abbate: "CORENZIO, Belisario", in: Dizionario biografico degl'italiani, vol. 29 , 1983, pp. 65–68, online , last accessed on April 15, 2019
  25. ↑ Bernardo De Dominici: "Vita di Belisario Corenzio Pittore", in: Vite de pittori, scultori e architetti napolitani, vol. II , 1744, Bologna, 1979, pp. 292-318, online as ebook , here: p. 316
  26. ^ "Corenzio, Belisario", in: Lexikon der Kunst , Vol. 3, Karl Müller Verlag, Erlangen 1994, pp. 271–272.
  27. ↑ Nicola Spinosa (ed.): Museo Nazionale di Capodimonte , ed . from: Soprintendenza per i Beni Artistici e Storici di Napoli, Electa Napoli, Neapel 1994 (Italian), p. 113
  28. ↑ Nicola Spinosa (ed.): Museo Nazionale di Capodimonte , ed . from: Soprintendenza per i Beni Artistici e Storici di Napoli, Electa Napoli, Neapel 1994 (Italian), p. 105
  29. ^ Gilles Lambert: Caravaggio 1571-1610 . Taschen-Verlag, Cologne 2000, ISBN 3-8228-0818-0 , p. 82.
  30. ↑ Alfonso E. Pérez Sánchez: Ribera (I Classici dell'Arte) , RCS Libri SpA (Rizzolo / Skira), Milan, 2004, pp. 27, 39-69, especially: pp. 55, pp. 65ff, p. 68 .
  31. ^ Riccardo Lattuada: "Vaccaro, Andrea.", In: Grove Art Online . Oxford Art Online. Oxford University Press, on the web, accessed May 31, 2016
  32. ↑ a b c Maria Giovanna Sarti: "GIORDANO, Luca", in: Dizionario Biografico degli Italiani, Volume , 2001, online , accessed on April 14, 2019
  33. ↑ After Ribera, Stanzione was also the highest paid painter. Alfonso E. Pérez Sánchez: Ribera (I Classici dell'Arte) , RCS Libri SpA (Rizzolo / Skira), Milan, 2004, pp. 27, 39–69, especially: p. 68.
  34. ↑ Lanfranco painted the ceiling frescoes in the nave from 1637-40. La Certosa e il Museo di San Martino , ed. v. Ministero per i Beni e le Attività Culturali, Electa Napoli, 2002. (Italian), pp. 38 + 43
  35. ↑ Jeffrey Kennedy: Naples and the Amalfi Coast ("Naples and the Amalfi Coast", 2003). Dorling Kindersley, Munich 2004, ISBN 3-8310-0609-1 .
  36. ↑ a b Nicola Spinosa (ed.): Museo Nazionale di Capodimonte , ed . from: Soprintendenza per i Beni Artistici e Storici di Napoli, Electa Napoli, Naples 1994 (Italian), p. 106
  37. ↑ Guercino was Preti's teacher. Rosanna De Gennaro: "PRETI, Mattia, detto il Cavalier Calabrese", in: Dizionario Biografico degli Italiani , Volume 85, 2016, online at "Treccani" (accessed April 15, 2019)
  38. ↑ a b Rosanna De Gennaro: "PRETI, Mattia, detto il Cavalier Calabrese", in: Dizionario Biografico degli Italiani , Volume 85, 2016, online at "Treccani" (accessed April 15, 2019)
  39. ↑ Nicola Spinosa (ed.): Museo Nazionale di Capodimonte , ed . from: Soprintendenza per i Beni Artistici e Storici di Napoli, Electa Napoli, Naples 1994 (Italian), p. 131