Mattia Pretiイタリア, 1613–1699Clorinda Rescuing Sofronia and Olindo
見られますか？
はい、現在展示中
『Clorinda Rescuing Sofronia and Olindo』は今どこに？ J・ポール・ゲティ美術館, Museum East Pavilion, Gallery E201, ロサンゼルス. はい、現在展示中. 確認 2026年10月5日.
閉館· 10:00に開館
一般公開されています。
- 確認
- この状態になった日
- 出典
- 美術館
この絵画について
In a plumed helmet, the Persian warrior-maiden Clorinda arrives on her white horse to save the lovers Sofronia and Olindo, who are about to be burned at the stake. The subject comes from one of the most popular books of its time, Torquato Tasso's epic about the First Crusade. When Aladine, the king of Jerusalem, threatened to execute the whole Christian community for the theft of a sacred image, Sofronia took the responsibility on herself to save the others. Her beloved Olindo then claimed to be the thief to save her, but Aladine condemned them both. Impressed by the young couple's courage, Clorinda saved them from the fire by offering to fight for the king in the coming battle with the Crusaders. All eyes are riveted on Clorinda, whose leaning posture and pointing gesture lead diagonally up to the figures of Sofronia and Olindo.
続きを読む
Figures press close to the picture plane against a turbulent black, yellow, and orange streaked sky. Mattia Preti used strong chiaroscuro to contrast the partially illuminated, startled faces of the crowd with the determination of Clorinda's shadowed profile. Sofronia and Olindo are brightly lit, perhaps indicating the nearness of the fire.
J・ポール・ゲティ美術館
作品データ
- 収蔵番号
- 69.PA.12
カタログ収録
出典
- J・ポール・ゲティ美術館
- 画像： J・ポール・ゲティ美術館 — Open Content
その頃、Mattia Pretiの人生では
生涯をすべて見る1653–1661
A relationship of mutual influence with the young Luca Giordano
In Naples he developed a mutually influential relationship with the younger Luca Giordano; together they contributed to the development of the Neapolitan school of painting in the second half of the century. For the young Neapolitan artist, Preti acted as a bridge between the early naturalism of the first half of the century and the fully-fledged Baroque style.
summer 1659
A trip to Malta: Knight of Grace of the Order
In the summer of 1659 he travelled to Malta, where he was made a Knight of Grace in the Order of St John and visited the Order’s headquarters.
1660
Commissioned to decorate the vault of St John’s Co-Cathedral
In 1660 he was commissioned to decorate the vault of St John’s Co-Cathedral in Valletta, the church of the Order of Malta.
15 September 1660
His admission as a Knight of Grace is recorded by the Order’s chancery
Preti’s application for the rank of Knight of Grace was accepted by the reigning Pope, Alexander VII, and his admission was recorded by the Chancery of the Order of Malta on 15 September 1660.
1660–1661
Back in Rome: Valmontone and Sant’Andrea
By around 1660 he was no longer based permanently in Naples, and was initially in Rome, where he succeeded Pier Francesco Mola to complete the fresco cycle of the Elements of the Air at the Villa Pamphilij in Valmontone and made improvements to his Stories of the Saint at Sant’Andrea della Valle, painted during his earlier years in Rome. Meanwhile, in Naples, he had established a strong professional relationship with Don Antonio Ruffo, a wealthy Sicilian patron who invited him to fresco Messina Cathedral.
1661–1699
Malta: work for the island and for all of Europe
From 1661 he worked in Malta: besides the cathedral decoration he realised several paintings on the island for private patrons and parish churches, and his increased reputation brought him commissions from all over Europe. His major works in Malta include the “Conversion of Saint Paul” in St Paul’s Cathedral in Mdina, commissioned by the Knights Hospitaller, and the “Madonna and Child with Saints John the Baptist and Anthony Abbot” in the chapel of Verdala Palace in Siġġiewi.
