Francesco SolimenaItalia, 1657–1747Jacopo Butera
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Chicago, Estados Unidos
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- Comprobado
- En este estado desde
- Fuente
- El museo
Ficha
- Número de inventario
- 1979.304
Lo que muestra
En el catálogo
Fuentes
- Instituto de Arte de Chicago
- Imagen: Instituto de Arte de Chicago — CC0
Mientras tanto, en la vida de Francesco Solimena
La vida entera1690s–1730s
His studio dominates Neapolitan painting
From the 1690s through the first four decades of the 18th century his studio dominates Neapolitan painting, becoming a virtual academy at the heart of the city’s cultural life. Among its pupils are Francesco De Mura, Giuseppe Bonito and Gaspare Traversi; the Scottish portraitist Allan Ramsay spends three years there.
1691–1695
Turns to the sombre manner of Preti
After 1690 he again looks for inspiration in the more sombre art of Mattia Preti; the Miracle of St. John of God for the Ospedale di Santa Maria della Pace rests on dramatic contrasts of light and dark. The same response to Preti shapes the Annunciation (Mauritshuis) and the Allegory of Louis XIV (1692, Hermitage).
mid-1690s
Turns toward classicism
Perhaps stimulated by the rivalry of Paolo de Matteis, he begins to move toward a more classical style that puts disegno before colore and shows a new concern for ideal beauty. Striking examples are the Assumption (1697) in the Annunziata at Marcianise and the St. Christopher in Sant’Anna dei Lombardi, whose nude de’ Dominici admired for its ideal beauty.
