Las óleos de todo CAVALLINO, Bernardo
ID Image  Painting (From A to Z)       Details 
5979  
CAVALLINO, Bernardo, Clavichord Player df
  		 Clavichord Player df   Oil on canvas Mus??e des Beaux-Arts, Lyon
5980  
CAVALLINO, Bernardo, Esther and Ahaseurus df
  		 Esther and Ahaseurus df   1645-50 Oil on canvas, 75 x 102 cm Galleria degli Uffizi, Florence
20581  
CAVALLINO, Bernardo, Lot and His Daughters (mk05)
  		 Lot and His Daughters (mk05)   Canvas,40 x 30''(101 x 76 cm)Given in 1983
5978  
CAVALLINO, Bernardo, St Peter and Cornelius the Centurion dfg
  		 St Peter and Cornelius the Centurion dfg   1640s Oil on canvas, 102 x 127 cm Galleria Nazionale d'Arte Antica, Rome
28652  
CAVALLINO, Bernardo, Stoning of St.Stephen
  		 Stoning of St.Stephen   mk61 c.1650 Oil on canvas 71x93cm
5981  
CAVALLINO, Bernardo, The Blessed Virgin fdg
  		 The Blessed Virgin fdg   1650 Oil on canvas, 167 x 118 cm Pinacoteca di Brera, Milan
5977  
CAVALLINO, Bernardo, The Ecstasy of St Cecilia df
  		 The Ecstasy of St Cecilia df   1645 Oil on canvas Museo Nazionale di Capodimonte, Naples
CAVALLINO, Bernardo
Italian Baroque Era Painter, ca.1616-1656 Italian painter and draughtsman. He was the most individual and most poetic painter active in Naples during the first half of the 17th century. He painted mainly small cabinet pictures, on canvas or on copper, for dealers and for highly cultivated private patrons; he had few public commissions and apparently never painted any large-scale decorations for private or ecclesiastical patrons. His subject-matter is largely derived from the Old and New Testaments, the Apocrypha, Tasso and from Roman history and mythology. Documentary evidence for his life and work is almost non-existent, and he remains enigmatic and elusive as a historical figure. Yet as a painter he is strikingly distinctive, uniting a refinement and virtuosity of brushwork with an intensely naturalistic observation of surfaces, and complex and dramatic compositions with an extraordinary brilliance of palette. Only eight pictures are signed, initialled or inscribed with Cavallino's name. No works are documented and only five may be tentatively identified with pictures in mid-18th-century Neapolitan collections described by Bernardo de Dominici.



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