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Portfolio >> Pietro Da Cortona

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  • Pietro Da Cortona - Ceiling of the Hall of Venus
  • Pietro Da Cortona - Holy Family Resting on the Flight to Egypt
  • Pietro Da Cortona - The Virgin and Child with Saint Martina
  • Pietro Da Cortona - The Age of Gold 1
  • Pietro Da Cortona - The Age of Gold
  • Pietro Da Cortona - Ceiling Fresco in the Hall of Saturn
  • Pietro Da Cortona - Tullia ordered his chariot to pass over the body of his father
  • Pietro Da Cortona - Sheet of studies of ornamental motifs
  • Pietro Da Cortona - View of the Hall of Saturn
  • Pietro Da Cortona - Men Digging and Constructing a Wall
  • Pietro Da Cortona - Naked man, seated, with arms raised
  • Pietro Da Cortona - St. Michael Expurging Heresy
  • Pietro Da Cortona - The Triumph of Nature Over Art
  • Pietro Da Cortona - View of the Sala della Stufa
  • Pietro Da Cortona - View of the Hall of Venus
  • Pietro Da Cortona - The Age of Bronze
  • Pietro Da Cortona - Copy of draped woman seated, front view, head turned to the left
  • Pietro Da Cortona - Draped female seated, front view, head turned to the left
  • Pietro Da Cortona - A religious bent to the right, a man's head behind him
  • Pietro Da Cortona - Drapery of a kneeling figure, back view
  • Pietro Da Cortona - Old draped, seated, holding a rope
  • Pietro Da Cortona - Young woman sitting, facing left
  • Pietro Da Cortona - Finding of Moses
  • Pietro Da Cortona - The finding of Moses
  • Pietro Da Cortona - The Virgin and Child with Saint Martina, Another Study of Saint Martina, Studies of a Head, and of an Arcade
  • Pietro Da Cortona - Design with an Eagle Fighting with a Serpent and a Putto in the Sky Holding an Inscribed Banner
  • Pietro Da Cortona - Landing of the Trojans at the Mouth of Tiberis
 
All 104 Artworks from Pietro Da Cortona





 Pietro da Cortona
Pietro da Cortona was a painter whose art flourished during the High Baroque period, the 17th century. He was a painter whose greatest talent lay with fresco painting. Cortona was also an architect, designing and completing several architectural projects in his time as well. Like all active artists, Cortona had a large studio where he brought on many young artists to train and work under him, many of whom grew to become great, prominent artists in their own right.
[Page - Pietro Da Cortona - 4Ko]
Pietro da Cortona, by the name of Pietro Berrettini, born Pietro Berrettini da Cortona, (1 November 1596/7 – 16 May 1669) was the leading Italian Baroque painter of his time and also one of the key architects in the emergence of Roman Baroque architecture. He was also an important decorator. Cortona worked mainly in Rome and Florence.

Berrettini was born into a family of artisans and masons, in Cortona, then a town in the Grand Duchy of Tuscany. He trained in painting in Florence under Andrea Commodi, but soon he departed for Rome at around 1612/3, where he joined the studio of Baccio Ciarpi. He was involved in fresco decorations at the Palazzo Mattei in 1622-3 under the direction of Agostino Ciampelli and Cardinal Orsini had commissioned from him an Adoration of the Shepherds (c. 1626) for San Salvatore in Lauro.

In Rome, he had encouragement from many prominent patrons. According to Cortona's biographers his gifted copy of Raphael's Galatea fresco brought him to the attention of Marcello Sacchetti, papal treasurer during the Barberini papacy. Such contacts helped him gain an early major commission in Rome (1624–1626), a fresco decoration in the church of Santa Bibiana that was being renovated under the direction of Bernini. In 1626, the Sacchetti family engaged Cortona to paint three large canvases of The Sacrifice of Polyxena, The Triumph of Bacchus, and The Rape of the Sabines (the latter, c. 1629), and to paint a series of frescoes in the Villa Sacchetti at Castelfusano, near Ostia, using a team that included the young Andrea Sacchi. In the Sacchetti orbit, he met Pope Urban VIII and Cardinal Francesco Barberini, the papal nephew, and their patronage of Cortona provided him with ample scope to demonstrate his abilities as a painter of frescoes and canvases.

Fresco cycles were numerous in Cortona's Rome; most represented framed episodes imitating canvases such as found in the Sistine Chapel ceiling or in Carraccis' The Loves of the Gods in the Farnese gallery (completed 1601). In 1633, Pope Urban VIII (Maffeo Barberini) commissioned from Cortona a large fresco painting for the ceiling of the Barberini family palace; the Palazzo Barberini. Completed six years later, the huge Allegory of Divine Providence and Barberini Power marks a watershed in Baroque painting. A putative sketch of the plan, of doubtful authenticity, is exhibited in the hall. The fresco is an illusion with the central field apparently open to the sky and scores of figures seen 'al di sotto in su' apparently coming into the room itself or floating above it. It contains endless number of heraldic symbols and subthemes.

Cortona's panegyric trompe l'oeil extavaganzas have lost favor in minimalist times, yet they are precursors of sunny and cherubim infested rococo excesses. They contrast starkly with darker renegade naturalism prominent in Caravaggisti, and remind us that the Baroque style was not monolithic. Cortona, like Bernini in sculpture, appears reactionary, patronizing; yet if excellence in art is measured by the ability to match style to intent within the limitations of the medium, then Cortona was triumphant. He was among the first of the fresco painters that dispensed with the architectural masonry of the roof, erasing it away with painted integral architecture and a broad, non-framed vista. While rising heavenward, works like the Barberini Allegory are meant to stagger and humble the visitor, who seems to stand over, and not below, a looming abyss of mythic power that threatens to overwhelm the viewer.

Cortona had been patronized by the Tuscan community in Rome, hence it was not surprising when he was passing through Florence in 1637, that he should be asked by Grand Duke Ferdinando II de' Medici to paint a series of frescoes intended to represent the four ages of man in a small room, the Sala della Stufa, in the Palazzo Pitti. The first two represented the "ages" of silver and gold. In 1641, he was recalled to paint the 'Bronze Age' and 'Iron Age' frescoes. He began work on the decoration of the grand-ducal reception rooms on the first floor of the Palazzo Pitti, now part of the Palatine Gallery. In these five Planetary Rooms, the hierarchical sequence of the deities is based on Ptolomeic cosmology; Venus, Apollo, Mars, Jupiter (the Medici Throne room) and Saturn, but minus Mercury and the Moon which should have come before Venus. These highly ornate ceilings with frescoes and elaborate stucco work essentially celebrate the Medici lineage and the bestowal of virtuous leadership. Pietro left Florence in 1647, and his pupil and collaborator, Ciro Ferri, completed the cycle by the 1660s.

For a number of years, Cortona was involved for decades in the decoration of the ceiling frescoes in the Oratorian Chiesa Nuova (Santa Maria in Vallicella) in Rome, a work not finished until 1665. Other frescoes are in Palazzo Pamphilj in Piazza Navona (1651-4).

Towards the end of his life he devoted much of his time to architecture, but he published a treatise on painting in 1652 under a pseudonym and in collaboration. He refused invitations to both France and Spain.

He was elected as director of the Academy of St Luke the painter's guild in Rome, in 1634. It was at the Academy in 1636 that Cortona and Andrea Sacchi were involved in theoretical controversies regarding the number of figures that were appropriate in a painted work.

Sacchi argued for few figures, since he felt it was not possible to grant meaningful individuality, a distinct role, to more than a few figures per scene. Cortona, on the other hand, lobbied for an art that could accommodate many subplots to a central concept. In addition, he also likely viewed the possibility of using many human figures in decorative detail or to represent a general concept. Sacchi's position would be reinforced in future years by Nicolas Poussin. Others have seen in this dichotomy, the long-standing debate whether visual art is about theoretical principles and meant to narrate a full story, or a painterly decorative endeavor, meant to delight the senses. Cortona was a director of the Accademia from 1634-1638.

Among Cortona's more important architectural projects are the church of Santi Luca e Martina (completed in 1664, the church of the Accademia di San Luca, located in the Roman Forum. While Cortona was principe or director of the Accademia from 1634–38, he obtained permission to dig in the crypt of the church, which led the likely mistaken finding of remains attributed to the first century Roman martyr and Saint Martina. This discovery led to further patronage for construction of the church. The layout is almost a Greek cross, with four nearly identical wings extending from the striking central dome. Much of the ground structure is undecorated, above intricately decorated. The overwhelmingly vertical decoration of the facade is granted liveliness by horizontal convexity. In his will, this bachelor called this church his beloved daughter.

He also renovated the exterior renewal of the ancient Santa Maria della Pace (1656–1667), and the façade (with an unusual loggia) of Santa Maria in Via Lata (appr. 1660).

Another influential work for its day was the design and decoration of the Villa Pigneto commissioned by the Marchese Sacchetti. This garden palace or casino gathered a variety of features in a novel fashion, including a garden facade with convex arms, and highly decorated niches, and elaborate tiered staircases surrounding a fountain.

Prior to becoming famous as an architect, Pietro drew anatomical plates that would not be engraved and published until a hundred years after his death. The plates in Tabulae anatomicae are now thought to have been started around 1618. The dramatic and highly studied poses effected by the figures are in keeping with the style of other Renaissance Baroque anatomical artists, although nowhere does such an approach find any fuller expression than in these plates.
[Biography - Pietro da Cortona - 9Ko]
Pietro da Cortona, par le nom de Pietro Berrettini, né Pietro Berrettini da Cortona, (1 Novembre 1596 / 7-16 May 1669) fut le premier peintre italien baroque de son temps et aussi l'un des principaux architectes de l'émergence du baroque romain l'architecture. Il a également été un décorateur d'importance. Cortona a surtout travaillé à Rome et à Fl...
[Biography - Pietro da Cortona - 11Ko]
Pietro da Cortona, mit dem Namen Pietro Berrettini, geboren Pietro da Cortona Berrettini, (1 November 1596 / 7 - 16. Mai 1669) war der führende italienische Barockmaler seiner Zeit und auch einer der wichtigsten Architekten in die Entstehung des römischen Barocks Architektur. Er war auch ein wichtiger Dekorateur. Cortona arbeitete hauptsächlich in ...
[Biography - Pietro da Cortona - 10Ko]
Pietro da Cortona, con il nome di Pietro Berrettini, nato Pietro Berrettini da Cortona, (1 novembre 1596 / 7 - 16 maggio 1669) è stato il principale pittore barocco italiano del suo tempo e anche uno degli architetti chiave nella nascita del barocco romano architettura. Era anche un decoratore importante. Cortona ha lavorato prevalentemente a Roma ...
[Biography - Pietro da Cortona - 10Ko]
Pietro da Cortona, con el nombre de Pietro Berrettini, nació Pietro da Cortona Berrettini, (01 de noviembre 1596 / may 7 hasta 16 1669) fue el principal pintor barroco italiano de su época y también uno de los arquitectos clave en la aparición del barroco romano arquitectura. También fue un decorador de importante. Cortona trabajó principalmente en...
[Biography - Pietro da Cortona - 10Ko]
Пьетро да Кортона, по имени Пьетро Berrettini, родился Пьетро да Кортона Berrettini, (1 ноября 1596 / 7 - 16 мая 1669) был ведущим итальянским барокко художником своего времени, а также один из ключевых архитекторов в появление римского барокко архитектуры. Он был также важным декоратор. Кортона работал в основном в Риме и Флоренции. Berrettini род...
[Biography - Pietro da Cortona - 9Ko]
彼得罗DA科尔托纳,由彼得Berrettini(11月1日第1596(2005)/ 7 - 1669年5月16日),出生彼得Berrettini DA科尔托纳,的名字是他的时间领先的意大利巴洛克式的画家,也出现在罗马巴洛克的主要建筑师之一架构。他也是一个重要的装饰。 Cortona的工作主要是在罗马和佛罗伦萨。 Berrettini出生于一个工匠和泥瓦匠家庭,在科尔托纳,然后一个镇在托斯卡纳大公国。他在安德烈Commodi下的佛罗伦萨绘画培训,但很快他就离开罗马周围第1612 / 3,其中,他加入了巴乔Ciarpi工作室。他阿戈斯蒂诺Ciampelli和红衣主教奥西尼的指导下在1622-3宫马泰的壁画装饰已委托他的一个牧羊人的崇拜圣萨尔瓦多(公元前1626年)在劳罗。 在罗马,他鼓励许多著名...
[Biography - Pietro da Cortona - 4Ko]
Pietro da Cortona, com o nome de Pietro Berrettini, nascido Pietro da Cortona Berrettini, (1 de novembro de 1596 / 7 - 16 maio de 1669) foi o pintor italiano barroco líder de seu tempo e também um dos arquitectos chave no surgimento de Roman Baroque arquitetura. Ele também foi um decorador importante. Cortona trabalhou principalmente em Roma e Flor...
[Biography - Pietro da Cortona - 10Ko]
ピエトロダコルトーナは、ピエトロBerrettini、生まれピエトロBerrettiniダコルトーナ、(1596年11月1日/ 7 - 1669年5月16日)の名前でも、ローマのバロックの出現に重要な建築家の一人、彼の時間の主要なイタリアのバロック画家とアーキテクチャ。彼はまた、重要なデコレータていた。コルトーナは、ローマとフィレンツェを中心に働いた。 Berrettiniは、トスカーナ大公国にある町その後、コルトーナで、職人と石工の家族に生まれた。彼はアンドレアCommodi下のフィレンツェで絵画の訓練を受けて、しかしすぐに彼はBaccio Ciarpiのスタジオに参加して約3分の1612、でローマに向かった。彼はアゴCiampelliと枢機卿オルシーニの指導の下1622〜3のパラッツォマ...
[Biography - Pietro da Cortona - 5Ko]
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