|
ID |
Image |
Painting(From A to Z) |
Details |
|
51272 |
|
Allegory of Reign |
1690
Oil on canvas,
104 x 76 cm |
|
91392 |
|
Bathseba im Bade |
um 1725
Medium oil on canvas
Dimensions 103 x 128 cm (40.6 x 50.4 in)
cjr |
|
39580 |
|
Charles VI and Count Gundaker Althann |
mk150
1728
309x284cm
|
|
39633 |
|
Descent from the Cross |
mk150
c.1730/31
Canvas
398x223cm
|
|
32668 |
|
Dido Receiveng Aeneas and Cupid Disguised as Ascanius |
1720s
Oil on canvas, 207 x 310 cm |
|
43281 |
|
Dido Receiving Aeneas and Cupid Disguised as Ascanius |
mk170
1720-1730
Oil on canvas
207.2x310.2cm
|
|
32672 |
|
Expxulsion of Heliodorus from the Temple |
Fresco
|
|
20643 |
|
Heliodorus Chased from the Temple (mk05) |
1725
Canvas ,59 x 78 1/2''(150 x 200 cm)Preparatory sketch for a fresco in the New Church of the Gesu at Naples Acquired for Louis XVI in 1786 |
|
70764 |
|
judit med holofernes huvud |
1728-33
pa duk 130x105cm
se |
|
3800 |
|
Judith with the Head of Holofernes |
Art History Museum, Vienna |
|
96879 |
|
L Assomption et le Couronnement de la Vierge |
1690(1690)
Medium oil on canvas
Dimensions 134 X 101 cm
cyf |
|
86272 |
|
LAssomption et le Couronnement de la Vierge |
1690(1690)
Medium Oil on canvas
Dimensions 134 x 101 cm (52.8 x 39.8 in)
cyf |
|
78216 |
|
Portrait of Charles VI |
1707(1707)
Medium Oil on canvas
Dimensions 188 x 127 cm (74 x 50 in)
cyf |
|
76362 |
|
Portrait of Charles VI, Holy Roman Emperor |
1707(1707)
Oil on canvas
188 ?? 127 cm (74 ?? 50 in)
cjr |
|
32687 |
|
Rebecca and Eleazer |
c. 1710
Oil on canvas,
202 x 150 cm |
|
29103 |
|
Rebecca at the Well |
mk65
Oil on canvas
28x25"
|
|
71553 |
|
Rebecca at the Well |
Date c. 1700
Medium Oil on canvas
Dimensions 72 x 63 cm (28.35 x 24.8 in)
|
|
32665 |
|
Saint Cajetan Appeasing Divine Anger |
Fresco |
|
58469 |
|
Self portrait |
mk261 1730-1732 Oil Painting on canvas in 130 x 114 cm |
|
78811 |
|
Self portrait |
ca. 1715(1715)
Medium Oil on canvas
Dimensions 128 x 112 cm (50.4 x 44.1 in)
cyf |
|
26866 |
|
Self-Portrait |
mk52
1730-1
Oil on canvas
130x114cm
Uffizi,Florence
|
|
51275 |
|
St Bonaventura Receiving the Banner of St Sepulchre from the Madonna |
1710
Oil on canvas,
240 x 130 cm |
|
97733 |
|
St Francis before the Pope |
first quarter of 18th century
Medium oil on canvas
Dimensions 114 x 88 cm
cyf |
|
51280 |
|
The Martyrdom of Sts Placidus and Flavia |
1697-1708
Oil on canvas,
75 x 133 cm |
|
70501 |
|
The Martyrdom of Sts Placidus and Flavia |
Medium Oil on canvas
Dimensions 75 x 133 cm
|
|
32680 |
|
The Massacre of the Giustiniani at Chios |
Oil on canvas,
275 x 163 cm |
|
43606 |
|
The Trinity, the Madonna and St Dominic |
The Trinity, the Madonna and St Dominic |
|
|
Francesco Solimena
1657-1747
Italian
Francesco Solimena Gallery
Francesco Solimena was born in Canale di Serino, near Avellino.
He received early training from his father, Angelo Solimena, with whom he executed a Paradise for the cathedral of Nocera (place where he spend a big part of his life) and a Vision of St. Cyril of Alexandria for the church of San Domenico at Solofra.
He settled in Naples in 1674, there he worked in the studio of Francesco di Maria and later Giacomo del Po[1]. He apparently had taken the clerical orders, but was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII)[2]. By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his art??for he was a highly conventional painter??after the Roman Baroque masters, Luca Giordano and Giovanni Lanfranco, and Mattia Preti, whose technique of warm brownish shadowing Solimena emulated. Solimena painted many frescoes in Naples, altarpieces, celebrations of weddings and courtly occasions, mythological subjects, characteristically chosen for their theatrical drama, and portraits. His settings are suggested with a few details??steps, archways, balustrades, columns??concentrating attention on figures and their draperies, caught in pools and shafts of light. Art historians take pleasure in identifying the models he imitated or adapted in his compositions. His numerous preparatory drawings often mix media, combining pen-and-ink, chalk and watercolor washes.
Francesco Solimena 'A study for the fresco cycle in the Sacristy of San Paolo Maggiore in Naples', Whitfield Fine Art.A typical example of the elaborately constructed allegorical "machines" of his early mature style, fully employing his mastery of chiaroscuro, is the Allegory of Rule (1690) from the Stroganoff collection, which has come to the State Hermitage Museum, St Petersburg.
He apparently hoped to see his son Orazio follow a career in the law, for which he received a doctorate (de Domenici), but also became a painter.
His large, efficiently structured atelier became a virtual academy, at the heart of cultural life in Naples. Among his many pupils were Francesco de Mura (1696-1784) , Giuseppe Bonito (1707-89), Pietro Capelli, Gaspare Traversi, and most notably Corrado Giaquinto and Sebastiano Conca. The Scottish portraitist Allan Ramsay spent three years in Solimena's studio. Solimena amassed a fortune, was made a baron and lived in sumptuous style founded on his success.
Francesco Solimena died at Barra, near Naples, in 1747.
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