Pietro Bardellino

Pietro Bardellino (born February 17, 1728 in Naples ; † 1806 there ) was an Italian painter of the late Baroque . He was a student of Francesco De Mura (1696–1782).

Life

Ceiling frescoes by Bardellino in the Biblioteca dei Girolamini , Naples

In his early creative phase under de Mura, Bardellino orientated himself strongly to his teacher. The ceiling fresco “Mark and the Wounded Warrior” (1750; Naples, Ospedale degli Incurabili), “The Last Supper” (1764; Bitonto Cathedral) - that based on Francesco de Mura's “The Holy Family "(1775) in the cathedral of Gravina - as well as the painting" The Virgin Appears to Pius V and Don Giovanni of Austria "(1778; Naples, S. Giacomo degli Spagnoli ). The latter work shows a much freer and lighter design than the previous ones. Bardellino developed these properties further, e.g. B. in the painting “ Apotheosis of Ferdinand IV of Naples and Maria Carolina of Austria” (1781; Naples).

Bardellino's free and decorative painting was strongly influenced by Corrado Giaquinto and the "broken flickering" (cf. Grove Dictionary of Art ) style of Giacomo del Pò (1654–1726). It is therefore not surprising that a bozzetto of the "apotheosis" was originally attributed to del Pò.

Bardellino was director of the Accademia Napoletana del Disegno from 1773 and, with his light painting style, represented the opposition to the classicist style that was becoming more popular in Naples . Bardellino remained true to his style even in his late creative phase. The portrait "Gaetano Barba" (1790; Rome, Accad. N. S Luca) and the ceiling painting for the Biblioteca dei Girolamini in Naples (1792) should be mentioned.

The admission of Psyches to Olympus

The inclusion of Psyche in Olympus is the title of a painting by Bardellino from around 1780, which is now kept in the Gemäldegalerie in Berlin. The Berlin picture is a bozzetto for a ceiling fresco; this is indicated in particular by the two interlocking circles that frame the scenery and indicate the vault. The different execution of the figures, some of which are only hinted at, others are executed in more detail, also indicates the function of the picture as a bozzetto.

In his painting, Bardellino developed a dynamic, dramaturgically densely charged imagery in which the elevation of Psyche to divine status is depicted. Mount Olympus, shown here as a kingdom of heaven instead of a mountain range, is inhabited by the gods, geniuses and countless Cupids .

Jupiter is enthroned in the center and is surrounded by a glistening source of light that dramatically moves some of the gods, such as Pallas Athene , into bright light, while a deep shadow falls on the demigod Hercules in the foreground and little more than his silhouette can be seen. A second light source outside of the picture illuminates the figure of the psyche, which is being led by the hand of Mercury . The gods are dressed in flowing, mostly red, blue, green and white robes and are enthroned on voluminous cloud formations. The colors of the clothes are absorbed in the clouds themselves: while everything on the edge is wrapped in blue, the colors flow towards the center over red hues to the almost glistening white.

At the bottom left - outside the opening in the sky - sits a colorless grisaille -like figure, the meaning of which has not been clearly clarified. The attributes of the "female figure with a tower-like crowning of the head, bundle of lictors, keys, crown and lions [...] could point to Ceres , the goddess of the earth, marriage and justice, though also depicted in Olympus ". The shepherd god Pan lies above Hercules, recognizable by his goat feet and his flute. The playful Cupid at Pan's feet is blowing into the end of the flute instead of the mouthpiece. Behind Pan, half covered and in shadow, Neptune - the god of the sea - holds up his trident. Bacchus sits above it , to the right of him is Venus , the goddess of love and beauty, with one of her attributes , the dove on her lap. Next to her sits Juno , wife of Jupiter, protector of marriage and women, with her peacock and a headband. Her eyes are on Jupiter, who towers over her to the right. His left hand points to his wife's hand, his gaze is directed to Cupid on his right, who is committed to his lover. Jupiter points to the goddess of marriage and demands - according to the metamorphoses of Apuleius - the marriage of Psyches and Cupid.

literature

• Gemäldegalerie Berlin, State Museums of Prussian Cultural Heritage. Catalog of the paintings from the 13th to 18th centuries. Mann, Berlin 1975, ISBN 3-7861-6196-8 .
• Jane Turner (Ed.): The dictionary of art. Volume 3: B to Biard. Macmillan et al., London et al. 1996, ISBN 1-884446-00-0 .

Web links

• Biography in The Grove Dictionary of Art

Individual evidence

1. ↑ Figure
2. ^ Gemäldegalerie Berlin, Staatliche Museen Preussischer Kulturbesitz. Catalog of the paintings from the 13th to 18th centuries. 1975, p. 42.