Antiveduto Grammatica: Difference between revisions
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[[Image:grammatica.jpg|thumb|450px|right|[[David]] returning triumphant with the head of [[Goliath]], [[Whitfield Fine Art]]]] |
[[Image:grammatica.jpg|thumb|450px|right|[[David]] returning triumphant with the head of [[Goliath]], [[Whitfield Fine Art]]]] |
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'''Antiveduto Grammatica ''' was an proto-[[Baroque]] [[Italy|Italian]] painter, active near [[Rome]]. Born in [[Siena]] or Rome, [[1571]], he died in Rome in [[1626]] |
'''Antiveduto Grammatica ''' was an proto-[[Baroque]] [[Italy|Italian]] painter, active near [[Rome]]. Born in [[Siena]] or Rome, [[1571]], he died in Rome in [[1626]] |
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According to [[Giovanni Baglione]] the artist was given the name Antiveduto ("foreseen") because his father had a premonition that he would be soon be born during a journey between his native Siena and Rome. It was in Rome that Antiveduto was baptised, raised and based his career. His apprenticeship with the Perugian artist [[Giovanni Domenico Angelini]] introduced him to small-scale works, mostly on copper. He gained the nickname "gran Capocciante" because he specialised in painting heads of famous men. A decade later, in 1591, Antiveduto set up as an independent artist. |
According to [[Giovanni Baglione]] the artist was given the name Antiveduto ("foreseen") because his father had a premonition that he would be soon be born during a journey between his native Siena and Rome. It was in Rome that Antiveduto was baptised, raised and based his career. His apprenticeship with the Perugian artist [[Giovanni Domenico Angelini]] introduced him to small-scale works, mostly on copper. He gained the nickname "gran Capocciante" because he specialised in painting heads of famous men. A decade later, in 1591, Antiveduto set up as an independent artist. |
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Grammatica's earliest surviving public commission, an old-fashioned configuration depicting Christ the Saviour with St. Stanislaus of Krakow, St. Adalbert of Prague and St. Hyacinth Odrowaz, was painted for the high altar of [[San Stanislao dei Polacchi]]. Characterized by [[Giulio Mancini]] as most zealous in his profession, Antiveduto began his association with the [[Accademia di San Luca]] in 1593. He gained great familiarity with the two protectors of the Academy, Cardinals [[Federico Borromeo]] and [[Francesco Maria Del Monte]], and was closely attached to the latter; so much that he was elected to the highest office of the association as "principe" in 1624. Shortly after this, however, he became embroiled in scandal. The machinations of Grammatica’s enemy [[Tommaso Salini]] over the attempt to sell off the Accademia's altarpiece, thought to be by [[Raphael]], brought about a humiliating retreat, when [[Cardinal Del Monte]] intervened to re-establish the constitution of the institution. His fortunes were in a way linked with the Cardinal himself, who was much frowned upon by the [[Barberini]], and his death preceded that of Del Monte by four months, in April 1626. |
Grammatica's earliest surviving public commission, an old-fashioned configuration depicting Christ the Saviour with St. Stanislaus of Krakow, St. Adalbert of Prague and St. Hyacinth Odrowaz, was painted for the high altar of [[San Stanislao dei Polacchi]]. Characterized by [[Giulio Mancini]] as most zealous in his profession, Antiveduto began his association with the [[Accademia di San Luca]] in 1593. He gained great familiarity with the two protectors of the Academy, Cardinals [[Federico Borromeo]] and [[Francesco Maria Del Monte]], and was closely attached to the latter; so much that he was elected to the highest office of the association as "principe" in 1624. Shortly after this, however, he became embroiled in scandal. The machinations of Grammatica’s enemy [[Tommaso Salini]] over the attempt to sell off the Accademia's altarpiece, thought to be by [[Raphael]], brought about a humiliating retreat, when [[Cardinal Del Monte]] intervened to re-establish the constitution of the institution. His fortunes were in a way linked with the Cardinal himself, who was much frowned upon by the [[Barberini]], and his death preceded that of Del Monte by four months, in April 1626. |
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Further Reading: |
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Gianni Papi, ''Antiveduto Grammatica'', Soncino 1995 |
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*http://www.brukenthalmuseum.ro/de/ev_barocke_sammellust/28.php |
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Helmut Philipp Riedl, ''Antiveduto della Grammatica (1570/1-1626) Lebun und Werk'', Berlin 1998 |
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Revision as of 10:18, 3 October 2006
Antiveduto Grammatica was an proto-Baroque Italian painter, active near Rome. Born in Siena or Rome, 1571, he died in Rome in 1626
According to Giovanni Baglione the artist was given the name Antiveduto ("foreseen") because his father had a premonition that he would be soon be born during a journey between his native Siena and Rome. It was in Rome that Antiveduto was baptised, raised and based his career. His apprenticeship with the Perugian artist Giovanni Domenico Angelini introduced him to small-scale works, mostly on copper. He gained the nickname "gran Capocciante" because he specialised in painting heads of famous men. A decade later, in 1591, Antiveduto set up as an independent artist.
Grammatica's earliest surviving public commission, an old-fashioned configuration depicting Christ the Saviour with St. Stanislaus of Krakow, St. Adalbert of Prague and St. Hyacinth Odrowaz, was painted for the high altar of San Stanislao dei Polacchi. Characterized by Giulio Mancini as most zealous in his profession, Antiveduto began his association with the Accademia di San Luca in 1593. He gained great familiarity with the two protectors of the Academy, Cardinals Federico Borromeo and Francesco Maria Del Monte, and was closely attached to the latter; so much that he was elected to the highest office of the association as "principe" in 1624. Shortly after this, however, he became embroiled in scandal. The machinations of Grammatica’s enemy Tommaso Salini over the attempt to sell off the Accademia's altarpiece, thought to be by Raphael, brought about a humiliating retreat, when Cardinal Del Monte intervened to re-establish the constitution of the institution. His fortunes were in a way linked with the Cardinal himself, who was much frowned upon by the Barberini, and his death preceded that of Del Monte by four months, in April 1626.
Further Reading: Gianni Papi, Antiveduto Grammatica, Soncino 1995 Helmut Philipp Riedl, Antiveduto della Grammatica (1570/1-1626) Lebun und Werk, Berlin 1998