All Andrea Sacchi's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
90653  
Andrea Sacchi, Hagar and Ishmael in the Wilderness
  		Hagar and Ishmael in the Wilderness ca. 1630(1630) Medium oil on canvas Dimensions 75.6 x 92 cm (29.8 x 36.2 in) cjr
3697  
Andrea Sacchi, Marcantonio Pasquilini Crowned by Apollo
  		Marcantonio Pasquilini Crowned by Apollo Metropolitan Museum of Art, New York
70589  
Andrea Sacchi, The Death of Dido
  		The Death of Dido Medium Oil on canvas Dimensions Expression error: Missing operand for *148 ?? 140 cm
28956  
Andrea Sacchi, The Three Magdalens
  		The Three Magdalens mk65 Oil and tempera on canvas 113x77 9/16in Uffizi
42053  
Andrea Sacchi, The three Mary magdalene
  		The three Mary magdalene mk166 1628-1639 I Wave and tempera on cloth 287x197cm Uffizi, Florence
Andrea Sacchi
1559-1661 Italian Andrea Sacchi Gallery As a young man, Sacchi had worked under Cortona in Castel Fusano (1627-1629). But in a set of public debates later developed in the Roman Artist's Guild, Accademia di San Luca, he strongly criticized Cortona's exuberance. In particular, Sacchi advocated that since a unique, individual expression needs to be assigned to each figure in a composition, a painting should not consist of more than about ten figures. In a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this is a reaction against the zealous excess of crowds in paintings by men such as Zuccari of the prior generation, and by Cortona among his contemporaries. Simplicity and unity were essential to Sacchi. Cortona argued that large paintings were more like an epic, that could avail themselves of multiple subplots. The encrustation of a painting with excess decorative details, including melees of crowds, would represent "wall-paper" art rather than focused narrative. Among the partisan's of Sacchi's argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin. The controversy was however less pitched than some suggest, and also involved the dissatisfaction that Sacchi and Albani, among others, shared regarding the artistic depiction of low or genre subjects and themes, such as preferred by the Bamboccianti and even the Caravaggisti. They felt that high art should focus on exalted themes- biblical, mythologic, or from classic history. Sacchi, who worked almost always in Rome, left few pictures visible in private galleries. He had a flourishing school: Poussin and Carlo Maratta were younger collaborators or pupils. In Maratta's large studio, Sacchi's preference for grand manner style would find pre-eminence among Roman circles for decades to follow. But many others worked under him or his influence including Luigi Garzi, Francesco Lauri, Andrea Camassei and Giacinto Gimignani. Sacchi's own illegitimate son Giuseppe, died young after giving very high hopes. Sacchi died at Nettuno in 1661.



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