Luca amedei caravaggio biography
- Sono laureato in triennale in Statistica Statistiche ed Economiche e in magistrale in scienze statistiche presso l'Università di Padova.
- Manner — Worked in a style influenced, directly or indirectly, by either the Caracci or by Caravaggio and in a style not clearly recognized as Neoclassicism.
- The son of the artist Ludovico Leoni, Ottavio was born in Rome and had high-ranking patrons from a very young age for whom he produced portraits and altarpieces.
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Karavadjo Narcis1736996055
Karavadjo Narcis1736996055
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Portraits of some famous painters of the 17th century, drawn and engraved in copper by the Knight Ottavio Leoni with the lives of the same by various authors
Ottavio Leoni (1578?-1630)
Inscriptions
On the recto of the front guard paper ms: This book was owned by the late Mr. Ignazio Hugford and bought by me Lamberto Cristiano Gori, his disciple, at the sale of his property with many other books specifically related to the art of drawing. 9 Dec. 1782; at page 271 ms.: By Lamberto Cristiano Gori. 22 October 1782.
Ottavio Leoni was a painter, engraver, but above all a draughtsman. The son of the artist Ludovico Leoni, Ottavio was born in Rome and had high-ranking patrons from a very young age for whom he produced portraits and altarpieces such as Vincenzo I Gonzaga, Duke of Mantua, Cardinal Francesco Maria Bourbon Del Monte, who as protector of the Accademia di San Luca was able to facilitate Leoni's early entry into the company, Giovanni Angelo Altemps and Scipione Borghese. He is also responsible for a series of drawings on blue paper of scientists, mathematicians, arti
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Chapter 13 Donatello Re-discovered? A Name for the Author of the Berlin Flagellation and the Hildburgh Relief
Abstract
The essay in question investigates the authorship problem of a marble relief of a Flagellation of Christ, attributed to Donatello by Wilhelm von Bode, who had acquired it in Florence from Stefano Bardini. It was, in the past, celebrated as one of the masterworks by the sculptor in the extensive sculpture collection of the Berlin Kaiser-Friedrich-Museum. Presumed lost in the fire of the Friedrichshain Bunker in 1945, it was in fact heavily damaged and secretly transferred to the Soviet Union in 1946, where it had entered the collections of the Moscow State Pushkin Museum of Fine Arts. It has recently resurfaced in a collaboration research project led by the Moscow and Berlin museums since 2015. The authorship of the work in question had posed a problem for the scholars for a long time, as the relief had been deprived of an autograph Donatello status by H.W. Janson’s definitive 1957 monograph on the sculptor, and was given instead to a myst
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