Las óleos de todo BORGIANNI, Orazio
ID Image  Painting (From A to Z)       Details 
5238  
BORGIANNI, Orazio, Holy Family with St Elizabeth, the Young St John the Baptist and an Angel
  		 Holy Family with St Elizabeth, the Young St John the Baptist and an Angel   c. 1609 Oil on canvas 257 x 202 cm Galleria Nazionale d'Arte Antica, Rome
5239  
BORGIANNI, Orazio, Self-Portrait hgjhg
  		 Self-Portrait hgjhg   1615 Oil on canvas, 55 x 39 cm Galleria Nazionale d'Arte Antica, Rome
5237  
BORGIANNI, Orazio, St Carlo Borromeo gf
  		 St Carlo Borromeo gf   1611-12 Oil on canvas, 217 x 151 cm Chiesa di San Carlo alle Quattro Fontane, Rome
BORGIANNI, Orazio
Italian Baroque Era Painter, 1578-1616 Orazio Borgianni (c. 1575 - buried 15 January 1616) was an Italian painter and etcher of the Mannerist and early-baroque periods. He was the stepbrother of the sculptor and architect Giulio Lasso. Borgianni was born in Rome, where he was documented in February 1604. He was instructed in the art of painting by his brother, Giulio Borgiani, called Scalzo. The patronage by Philip II of Spain induced him to visit that Spain, where he signed an inventory in January 1605. He returned to Rome from Spain after April 1605 at the height of his career, and most of the work of his maturity was carried out 1605-16. In Spain, he signed a petition to begin an Italianate academy of painting and executed a series of nine paintings for the Convento de Portacoeli, Valladolid, where they remain. From his time in Spain, there remain two of his paintings in the Prado Museum: St Christopher and the Stigmatization of St Francis. On his return to Rome he was patronized by the Spanish ambassador, for whom he painted several pictures, and he was also employed in painting for the churches. He painted as late as 1630. after which he returned to Spain. He frescoed in the apse of the church of San Silvestro in Capite in Rome, a Martyrdom of S.Stefano I and a Messengers of Constantine call on Saint Silvestro (1610). His canvas of San Carlo Borromeo in the church of San Carlo alle Quattro Fontane (1612) is an eclectic and emotive synthesis of both Carracci and tenebrist styles. The influence of Caravaggio is also evident in a painting of the same saint (1616) now in the Hermitage Museum. A lively self-portrait of an earnest, somewhat foppish Borgianni is in the Rome Galleria Nazionale d'Arte Antica.



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