Vincenzo Morani

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Vincenzo Morani ( July 12, 1809 in Polistena , † June 15, 1870 in Rome ) was an Italian painter.

biography

The son of Fortunato Morano comes from a family of decorators from San Pietro di Caridà and completed his first training in his father's workshop in Polistena.

After showing a disposition to art, he was sent to Naples to study at around the age of 18 with a modest contribution from the city council . Thanks to General Vito Nunziante, he then received a grant of nine ducats per month and was able to enroll at the Reale accademia del disegno di Napoli in 1827, where he had Costanzo Angelini , Joseph-Boniface Franque and Camillo Guerra as teachers.

In 1830 he took part in the Biennale Borbonica with a tempera picture , the view of a temple . In the same year the Benedictines commissioned him to paint a fresco in the refectory of the Cava de 'Tirreni Abbey, and in 1832, while he was finishing the work, he met the English writer Sir Walter Scott , who admired the miniatures of the manuscripts kept in the abbey and portrayed him. After this chance meeting, he got to know the aristocratic world of the English living in Naples, who commissioned him to paint some portraits.

In 1834 he received a grant for an apartment in the papal capital, to which he moved. While continuing to attend the Biennali Borboniche and maintaining profitable relationships with the Neapolitan nobility, he visited Tommaso Minardi and the Circle of Purists, refined his art and became a professor of fine arts.

In 1840 he made a painting with a biblical motif for Prince Vincenzo Ruffo, Duke of Antimo. After his work was recognized by the critics, he was asked by Duke Marino Torlonia to fresco the chapel of the palace in Piazza Venezia, and then by Count Alessandro , Marino's brother, for another painting in the same Torlonia residence .

In 1847 he painted a picture for the church of the cemetery of Poggioreale , which depicts the crucifixion , for Ferdinand II .

In 1852 he took on a new assignment for the abbey church of Cava de 'Tirreni. Before 1856 he sent three paintings from Rome and from 1857 to 1863 he worked on the cycle of frescoes on the walls and vaults of the church. His masterpiece in this context is the Descent from the Cross , which is on the left of the altar of the transept.

In the same years, his religious paintings were displayed in various churches, including the Cathedral of Capua , the Church of San Francesco in Gaeta , the Basilica of Saint Paul Outside the Walls in Rome and even the new Church of the Assumption in Constantinople .

In this work, he successfully added portraits, genre paintings, and works on historical and literary subjects. In 1862 he sent a painting with an episode from the third part of the Divine Comedy together with a scene with Roman costumes for the World's Fair in London .

In 1870 he presented two paintings at the Christian Art Exhibition in Rome and died on June 15 at the age of 61.

Works

Portrait of Charles Januarius Acton
Portrait of Amico Ricci
Portrait of Francesco Florimo

Honors, awards and recognitions

  • Silver medal in 1833 at the Borbonica Biennale
  • Scholarship in 1834 for an apartment in Rome
  • Honorary professor at the Real Accademia di belle arti di Napoli
  • Gold medal in 1870 at the Christian Art Exhibition in Rome

Individual evidence

  1. ↑ Morani Vincenzo ( it ) galleria d'arte il triangolo.
  2. ^ Francis Napier: Notes on modern painting at Naples . In: The Nineteenth Century. Visual Arts Collection . tape 4.3.10 . John W. Parker and Son, London 1855 (English).
  3. ↑ Gli Artisti (mention of Vincenzo Morani) ( it ) La vera Polistena.
  4. ↑ BBC - Your Paintings - Sir Richard Acton (1801–1837), 7th Bt . Retrieved October 30, 2015.
  5. ↑ Morani Vincenzo * ( it ) Retrieved October 24, 2019.
  6. ↑ A description of the decorations in the chapel, which were lost with the demolition of the building, comes from an article published in L'Album in 1842 , when the work was completed: on the vault was the “Eternal Father, his power shows over the whole of creation ”, surrounded by bezels, with“ angels holding the sounds in their hands and looking at these grateful harmonies as if lost in ecstasy ”(page 197). In the corners were "the greatest prophets with their symbols" and the stories of Moses in four monochrome lunettes. Finally, the apse showed the Redeemer venerated by the angels, reproduced in an engraving in 1842 , a decoration in which Morani seems to have fully adopted the lesson of Minardian purism and, as his contemporaries praised, both the technique - that of the fresco which was recovered in the context of the Minardi school - as well as being reminiscent of the style of "the beautiful century of Italian painting".
  7. ↑ The painting was critically acclaimed as one of Morani's most successful “for the severity of the style and the purged drawing in the act of Christ, in the draping and the figures in which there is a slight devotion, naturalness, grace” for “the color of the flesh and the robes that are harmoniously coordinated with one another ”and for the arrangement of“ the light and the shadow that are easy to feel and understand ”. L'Album, 1847, p. 131
  8. ↑ Description of the basilica ( it ) Badia di Cava de 'Tirreni. Retrieved October 24, 2019.
  9. ↑ "Dalla tradizione alla contemporaneità. Visioni dalla città che cambia" - Museo di Roma in Trastevere ( it ) Retrieved on November 1, 2015.
  10. ↑ Biography di Vincenzo Morani . Casa editrice Cromosema.
  11. ↑ The volume, which among other things contains the correspondence with Vincenzo Morani, has a "Portrait of Amico Ricci", a work by Morani from 1856, on its cover.

literature

Web links

Commons : Vincenzo Morani  - Collection of images, videos and audio files
personal data
SURNAME Morani, Vincenzo
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH July 12, 1809
PLACE OF BIRTH Polistena
DATE OF DEATH June 15, 1870
Place of death Rome