Never Expect On Caravaggio Still Life
Hundreds of still-lifes today in accumulator or broadcast in official places such as embassies, prefectures, ministries, authoritative offices, are all that charcoal - and it is the greatest allotment - of the alive accession practised by the Medicis for ancestors from the alpha of the 17th aeon to mid-way through the 18th century. But it was careful collecting, advised not alone for the adornment of called places with works adorable to attending at corrective by the aloft artists in that genre, but additionally bent by a admiration to scientifically certificate and it is this that gives the Medicean collections their appropriate slant. The accurate aspect of accession as practised by the Medici family, aloft all starting from Francesco I who accumulated a abundance of works of art incomparable in Europe, is one of its best analytical characteristics as practised advanced from the backward 16th century.
Francesco I was the aboriginal to actualization a accurate absorption area art was depicted in its assorted forms, and this was affiliated by his breed starting with Cosimo II who began to be absorbed in the astute representation of altar and the aftermath of acreage and sea, as angry by Caravaggio's abundant example. This artist's "Bacco" painting (now in the Uffizi), emblematic of this type, had accustomed in the Medici collections as able-bodied as assertive Flemish paintings area objects, flowers and bake-apple were proposed with the beheld accuracy archetypal of this school.
The addiction started by Cosimo II as a agog beneficiary of paintings by the followers of Caravaggio - with Filippo Napoletano alive in his cloister and painting such pictures as the "Conchiglie" and "Cedri grandi al naturale" as able-bodied as a "rinfrescatoio di frutta" in Caravaggio-style - was again connected by his three sons, Ferdinando II, Giancarlo and Leopoldo, both the two closing actuality cardinals. All three were upholders of the astute address in which attributes was abundantly and altogether illustrated with naturalistic details. They begin the approved articles in miniatures by Giovanna Garzoni of Ascoli set on ample block bedding and the decorators of asleep and alive attributes in which accustomed articles were alloyed with an aggregation of altar calm by the Medicis, and in the art of two Dutch painters Willem van Aelst and Otto Marseus van Schrieck, who formed for them in Rome and Florence.
Garzoni spent about ten years in Tuscany (1642-1651) bartering her protectors Ferdinando II, his brothers and the Admirable Duchess Vittoria delle Rovere who additionally had her acrylic a pet dog, with her adored miniatures featuring flowers, vegetables and fruit. All the parchments of the miniaturist, preserved amid Palazzo Pitti and the Uffizi, anatomy a best adorable and bright description of the added archetypal botanical articles of that age corrective in a astute actualization which links up with agnate paintings by Jacopo Ligozzi of Verona and precedes the abundant beyond and added bizarre compositions by Bartolomeo Bimbi. These accurate "portraits" of botanical breed responded to the accurate interests of the Medicis apropos the varieties able in the area of their boondocks and country houses, aloft all in those acceptance to Cardinal Giancarlo who was a committed floriculturist. It was absolutely this closing who knew and arrive the Dutchman Van Aelst to Florence, as an adherent of his affluent compositions featuring hunting scenes, gastronomy, flowers and bake-apple alloyed with the affluent accoutrement acceptance to the ancestors that are still today allotment of the Pitti collections.
No beneath absorbed was his brother Leopoldo who had Van Aelst acrylic the better of his still-lifes in the Florentine period, area the adored altar accumulated on a table covered with a dejected clover bolt are accumulated with fruit, game, angle and additionally a shotgun, a violin and a agreeable annual in adjustment to announce the prince's added interests. Leopoldo, who had apparent accurate interests, additionally calm the canvases of Otto Marseus, the added painter specialised in naturalistic representations. His paintings characterize the abstruse activity of the bracken abounding of agrarian animals, reptiles, insects, attenuate plants and flowers. These afflicted the painting of the Neapolitan artisan Paolo Porpora and anatomy a different accumulating for the array of capacity represented.
The growing absorption in still-life as the ideal adornment for the Admirable Ducal residences alfresco the burghal embodied itself systematically with Vittoria delle Rovere, the wife of Ferdinando II. In the Alcazar at Poggio Imperiale, set abreast for the admirable duchesses of the Medici family, she aggregate a huge accumulating of canvases, predominantly with floral capacity which still today beautify the rooms, although abounding accept been lost. Aloft all Vittoria calm works by the Roman painter Giovanni Stanchi and Andrea Scacciati of Florence, both authors of affected vases of flowers and garlands generally framing paintings by added artists. Stanchi specialised in vases of "scarnatine" roses that he corrective in colourings that were already pre-Romantic, while Scacciati - columnist of a alternation of four admirable canvases today in assurance to the Abode of Deputies of the Italian assembly - adopted tulips, anemones, carnations and narcissi generally placed about in adored Chinese ceramics vases in a absolutely "baroque" actualization as apparent in the Medici collections.
Another painter whose assignment has afresh been reconstructed is Bartolomeo Ligozzi. A nephew of the added acclaimed Jacopo, he too was alive in the Medici cloister and corrective pictures for Vittoria delle Rovere, Ferdinando II, again for Cosimo II and, aloft all, for his son Ferdinando who bedevilled several of Ligozzi's paintings in his accommodation in Palazzo Pitti. , Resulting from ability of the Roman "fioranti" starting with Mario de' Fiori, they represent a development of the acceptable burden of Flemish agent of bake-apple or a boutonniere of flowers which Ligozzi featured alfresco on the balustrades of a garden abounding of fountains, sculptures and birds. The burden of the album of flowers, as we accept apparent with absorption to Stanchi and Scacciati, began in Florence rather than in Rome, and was acclimated to anatomy a painting either angelic or abusive generally by addition hand. This blazon was arctic in origin, and was broadcast in Italy by Jan Bruegel "dei Velluti", who was in the annual of Cardinal Borromeo in Milan. Scacciati additionally started the actualization of apery aberrant floral examples such as "Due tulipani" that preceded the analytical representation of the "monsters of nature" by Bimbi.
The aiguille of this aberrant collectionism was accomplished during the administration of Cosimo III de' Medici (1670-1723), forth with his brother Francesco Maria and son Ferdinando.
Margherita Caffi, accepted as "la veneziana", connected in the annual of the Medicis, concentrated on painting garlands about centre-pieces of adorning motifs such as bean vases or masks on fountains thereby ambience a new actualization in still-life. She formed appear the end of the 17th aeon and the aboriginal years of the 18th, in a active actualization based on reds and whites with which she accent the carnations, tulips, jasmine and nasturtiums that were the capacity of her paintings. She created garlands, volutes, bunches and , abundant espaliers overflowing with flowers which in their 18th aeon chargeless actualization were the antecedents of the floral compositions of the accumulation accepted as acceptance to Francesco Guardi. Her generally actual ample canvases were admired aloft all by Ferdinando as ideal decorations for his houses, the one at Poggio Imperiale and those of Castello and Poggio di Caiano in their by now catholic elegance.
Cosimo was able to augment his already all-inclusive ability of art and the history of added countries during the connected journeys that he fabricated several times afore acceptable Admirable Duke. France, Spain, Portugal, Germany, but aloft all England and the Low Countries were his preferences from which he brought aback abundant quantities of assorted abstracts appropriately giving abounding comedy to his accurate and aesthetic interests. Fascinated in accurate by Flemish and Dutch art, amid the abounding works he added to the Florentine collections were paintings by still-life specialists from the already acclaimed Otto Marseus to J.D. de Heem, Abraham Mignon, N.van Verendael, Elias van den Broeck, Jan van Kessel and others besides. Adored earlier examples, like the works from the palette of Clara Peeters, ability accept been acquired by him. This blazon of aesthetic painting, with its absorption to adored details, acted as a bang to the botanical interests of Bartolomeo Bimbi (1648-1729), as encouraged by Cosimo. Bimbi was the best important painter of still-life in Florence amid the 17th and 18th centuries. In array of canvases, his aesthetic achievement was absolutely committed to depicting the accustomed or able articles of Tuscany in that aeon appropriately basic an aberrant actual affidavit which resulted in the accumulation of the Museo di Botanica collections in the 19th century.
Bimbi's amazing canvases, generally actual ample in size, are today housed for the best allotment on the additional attic of the alcazar at Poggio a Caiano acclimated as a depositary by the Florentine galleries. As appropriate by Cosimo III de' Medici, in these paintings he systematically represented the pomological varieties of Tuscany, the citrus bake-apple - the bizarre espaliers of lemons and citrons - the grapes and added fruits such as cherries, figs, apples, pears, plums, peaches, apricots, anniversary with their descriptions according to the abbreviated tables of the varieties cultivated. The best important series, that adherent to fruit, is set in bizarre frames carved with applicable motifs and gilded by the Dutchman Van Crosten. Together with the analogous chandelier, today in the Sala Celeste of the Royal Apartments in Palazzo Pitti, these works busy the accession allowance of the baby abode accepted as "La Topaia" which Cosimo acquired to be congenital on the hillside aloft Petraia. In the garden, a appropriate "pomario" or orchard had been created for the growing of dwarf plants.
According to Baldinucci Jr., Bimbi additionally acquired for the Admirable Duke the paintings of fruit, flowers and animals of aberrant proportions, complete "monsters" of attributes both for their admeasurement and for their aberrant appearance. This aberrant affidavit was sub-divided by the Admirable Duke according to abundance and affection in the assorted villas acceptance to his family. Into Ambrogiana went animals and flowers; a alloyed accumulating at Petraia; flowers at Castello; bake-apple and flowers at Topaia, while in Poggio a Caiano his son Ferdinando accumulated the still-lifes that were best adorable to his claimed taste; and at Poggio Imperiale his brother Francesco Maria followed the band laid bottomward by his mother Vittoria delle Rovere.
To all this band of accession still-lifes, should be added that of Prince Ferdinando de' Medici, the son of Cosimo III. In his collections in Palazzo Pitti and in the alcazar at Poggio a Caiano were aggregate the works of the best important Roman "fioranti" starting with the acclaimed Mario dei Fiori and including Michelangelo del Campidoglio, Gaspero Lopez, Frans Werner von Tamm, Nicasio Bernaerts accepted as "Monsù Nicasio", and those of the Neapolitan artists Porpora, Recco, Belvedere, Fardella, Nicola van Houbraken and Nicola Cassissa. Additionally included were paintings from the Emilia arena by Boselli, Valentino and Crespi. All these collectibles were doubly admired both as works of art and as awful important examples of classified flora and fauna.
The exceptionality of this accumulating - abominably little accepted and aloft all abundantly aloof to acceptance of botany and science - was again recognised in the 18th-19th centuries back the Lorena ancestors who succeeded the Medicis in administering Tuscany, created the Museo di Botanica, bartering it both with Bimbi's originals as able-bodied as copies of his greatest works which were kept to adorn the Medici houses but after demography into annual the organisation adapted by Cosimo III. The collections backward in this way until the accession on the Italian head of the Savoys who partly admired the adjustment laid bottomward by the Lorenas. But the 1920s saw the alpha of the burning of the paintings to embassies, prefectures and added authoritative offices, completed at the beginning of the Additional World War back the ancient residences of the Medicis were emptied of their contents. Further loans and accumulator of the canvases completed their dispersion.
Since abounding of the houses of the Medicis accept absent their aboriginal advised purpose (Ambrogiana has become a bent absurd asylum, Topaia was got rid of by King Vittorio Emanuele II and is today abreast owned, as is Artimino; Castello, emptied of its floral paintings, is the bench of the Accademia della Crusca, while Poggio a Caiano and Petraia underwent abolitionist transformation during the administration of the Savoys), this broadcast assets of astronomic absorption care to be placed in one of the houses accessible to the public. For example, the additional attic of Poggio a Caiano could be a accessible area if abundantly adapted to accommodate what charcoal of the collections. In this way, at atomic allotment of the actual basis of the Medici accession band could be reconstructed to the astronomic account of those belief the history of art and accustomed sciences according to a ambition bidding by Federico Zeri a abbreviate time afore he died.
(translated by Leonora Dodsworth)All rights reserved
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