Sisto Badalocchio
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| - | :''[[Renaissance erotica]], [[The Loves of the Gods]]'' | ||
| - | '''''The Loves of the Gods''''' (also called the '''Farnese Gallery''') is a massive [[fresco]] cycle completed by [[Annibale Carracci]] and his studio in the [[Palazzo Farnese]] (now the French Embassy) in [[Rome]], completed in 1608. The fresco series was greatly admired in its time, and was later felt to reflect a change in aesthetic in Rome from [[Mannerism]] to [[Baroque]]. | + | '''Sisto Badalocchio Rosa''' (1581 or 1585 - c. 1647) was an [[Italy|Italian]] [[Painting|painter]] and [[engraver]] of the [[Bolognese School (painting)|Bolognese School]]. |
| - | ==Production== | + | Born in [[Parma]], he worked first under [[Agostino Carracci]] in [[Bologna]], then [[Annibale Carracci]], in [[Rome]]. He worked with Annibale till 1609, then moving back to [[Parma]]. His best known work as an engraver was the ''Raphael's Bible'' series, which he created together with his fellow student, [[Giovanni Lanfranco]]. The images depict a series of [[fresco]]es by [[Raffaello Santi|Raphael]]'s workshop in the [[Vatican City|Vatican]] ''loggia''. As a painter, his most important work is the frescoes the church of San Giovanni Evangelista, [[Reggio Emilia]], which are based on [[Caravaggio]]'s earliers works. He executed the decoration of the cupula and pendentives of the church of San Giovanni Evangelista in Reggio. |
| - | Cardinal [[Odoardo Farnese]], [[Pope Paul III]]'s nephew, commissioned Annibale and his crew to decorate the barrel-vaulted gallery in the piano nobile of the family palace. Work was started in 1597 and ended in 1608. The studio involved were led by Annibale, and later briefly his brother [[Agostino Carracci|Agostino]], included a number of significant artists, such as [[Francesco Albani]], [[Guido Reni]], [[Domenichino]], and [[Sisto Badalocchio]]. The [[Farnese Gallery]] [http://depts.washington.edu/findrome/images/imagefiles/fresco/farnese.html] consists of profusely decorated [[quadratura]] and framed mythologic scenes. | + | |
| - | ==Scheme== | + | Though he often cooperated in fresco painting with Lanfranco, for example in Annibale designed series the San Diego Chapel in [[San Giacomo degli Spagnoli]] (1602-1607) and in Palazzo Costaguti (''Nessus and Deianeira''), Badalocchio never received the same recognition as his peer. Nevertheless, he is recognized today as an important figure in bring the artistic styles of the Italian [[Baroque]] to northern Italy. |
| - | Annibale had first decorated a small room (the [[Camerino]]) in the Palazzo with scenes from the life of [[Hercules]], likely to enhance the viewing of the famed Roman statue of the [[Farnese Hercules]]. In 1597, he began to decorate the gallery with mythological themes set within frames painted on an illusionistic architectural framework ([[quadratura]])[http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/080bg.jpg]. [[Sistine Chapel ceiling#The_Ignudi|Ignudi]], [[putti]], and herms (male [[caryatid]] figures) hold up the painted framework. Bellori, a noted art critic of the next generation called it "Human Love Governed by Celestial Love". | + | |
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| - | In the center panel, the [http://depts.washington.edu/findrome/images/imagefiles/fresco/bacchus.html Triumph of Bacchus and Ariadne] depicts a both riotous and classically restrained procession which ferries [[Dionysus|Bacchus]] and [[Ariadne]] to their lovers' bed. Here, the underlying myth is that Bacchus, the god of wine, had gained the love of the abandoned princess, Ariadne. In the Republican and Imperial Roman era, [[Roman triumph|triumph]]s were parades by victorious leaders, wherein a laureled-crowned ''imperator'' was led by a white chariot led by two white horses. The two lovers are led by chariots drawn by tigers [http://trionfi.com/0/t/01/] and a parade of nymphs, bacchanti, and trumpeting satyrs. At the fore, Bacchus' tutor, the paunchy, ugly, and leering drunk [[Silenus]], rides an ass. The figures carefully cavort in order to hide most naked male genitals. The program may refer to Ovid's Metamorphosis (VIII; lines 160-182) or a trifling [[carnival song]]-poem written by [[Lorenzo de Medici]] in about 1475, that entreats: [http://trionfi.com/0/gg/103/t.html] | + | |
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| - | {| | + | |
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| - | |Quest’è Bacco ed Arïanna, ||''Here are Bacchus and Ariadne,'' | + | |
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| - | |belli, e l’un de l’altro ardenti: ||''Handsome, and burning for each other:'' | + | |
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| - | |perché ’l tempo fugge e inganna, ||''Because time flees and fools,'' | + | |
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| - | |sempre insieme stan contenti. ||''They stay together always content.'' | + | |
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| - | |Queste ninfe ed altre genti ||''These nymphs and other gents'' | + | |
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| - | |sono allegre tuttavia. ||''Are ever full of joy.'' | + | |
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| - | |Chi vuol esser lieto, sia: ||''Let those who wish to be happy, be:'' | + | |
| - | |- | + | |
| - | |di doman non c’è certezza. ||''Of tomorrow, we have no certainty.'' | + | |
| - | |} | + | |
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| - | The painter's cousin [[Ludovico Carracci]] engraved uncensored versions in [[old master print|prints]] of the scenes. Also in contrast to the ceiling's intimation rather than outright depiction of mythological [[sexual intercourse|lovemaking]] are [[Agostino Carracci#Erotic work|erotic engravings]] by the painter's brother Agostino - the [[I Modi]]. | + | |
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| - | ==Critical Assessment and Legacy== | + | |
| - | After completing the Farnese frescoes, Annibale reportedly entered a long depression, and none of his subsequent works were considered as noteworthy. His influence for the future aesthetic of the fresco would be powerful. The density of figures would fuel debates in the next generation of fresco painters, [[Andrea Sacchi|Sacchi]] and [[Pietro da Cortona|Cortona]]; clearly, as this fresco indicates, Carracci's effervescent manner influenced Cortona. | + | |
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| - | Carracci, in his day, was seen as one of the painters that revived the classical style. Rebellious artists such as [[Caravaggio]] and his followers would in few years abandon the sunny background, and the representation of mythology in their art. But it would be inappropriate to view Carracci as solely the continuation of an inherited tradition; in his day, his vigorous and dynamic style, and that of his trainees, changed the pre-eminent aesthetic of Rome. His work would have been seen as liberating for artists of his day, touching on pagan themes with an unconstrained joy. It could be said that while [[Mannerism]] had mastered the art of formal strained contraposto and contorsion; Carracci had depicted dance and joy. | + | |
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| - | Neoclassic formalism and severity frowned on the excesses of Carracci; but in his day, he would have been seen as masterful, as the supreme approximation to classic beauty. Carracci painted in the tradition of [[Raphael]] and [[Giulio Romano]]'s secular [[Galatea (Raphael)|Galatea]] frescoes in the Loggia of the [[Villa Farnesina]]. Unlike Raphael though, they display a [[Michelangelo]]-esque muscularity, and depart from the often emotionless visages of High Renaissance painting. Finally, it has been said that Carracci and his school blended Venetian colorism with the Florentine-Umbrian attention to drawing and design; yet this is best seen in the oil canvases rather than frescoes in the Farnese, which required for Carracci and intensive degree of drawn preplaning and attention, much of which still exists. | + | |
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| - | [[Thomas Hoving]], later director of the [[Metropolitan Museum of Art]], wrote his PhD on the cycle, pointing out many correspondences between the frescoes and items in the famous Farnese collection of Roman sculpture, much of which was then housed in the gallery (it is now in [[Naples]], mostly in the [[Museo di Capodimonte]]). His suggestion that many details of the fresoes were designed to compliment the marbles below has been generally accepted. | + | |
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| - | ==Panels of Farnese Ceiling== | + | |
| - | *Central Ceiling Fresco | + | |
| - | *: ''Triumph of Bacchus and Ariadne'' | + | |
| - | * Ceiling Scenes | + | |
| - | *: Bedding Scenes | + | |
| - | *: ''Jove beds Juno'' | + | |
| - | *: ''Venus, Cupid, and Anchise (father of Aeneas) (Genus Latinum)'' | + | |
| - | *: ''Crescent-crowned Diane and Endymion'' | + | |
| - | *: ''Hercules with tambourine and Iole with Club'' | + | |
| - | *: Other | + | |
| - | *: ''Europa and the Bull (Jupiter)'' | + | |
| - | *: ''Aurora abducts Cephalus in her Chariot'' | + | |
| - | *: ''Peleus abducts the Nereid Tethys'' | + | |
| - | *: ''The Cyclops Polyphemus and the Nereid Galatea'' | + | |
| - | *: ''The Cyclops Polyphemus Throws a Boulder at Fleeing Acis (and Galatea)'' | + | |
| - | *: ''Ganymede and the Eagle (Jupiter)'' | + | |
| - | *: ''Apollo abducts Hyacinth Skyward'' | + | |
| - | *: ''Pan and Diana'' | + | |
| - | *: ''Mercury Brings golden Apple to Paris'' | + | |
| - | *Wall Scenes | + | |
| - | *: ''Peseus rescues Andromeda from the Dragon'' | + | |
| - | *: ''Perseus turns Phineas and followers to stone using the head of Medusa'' | + | |
| - | *: ''The Virgin and the Unicorn'' | + | |
| - | *: ''Icarus and Dedalus'' | + | |
| - | *: ''Diane is shown the Jupiter-impregnated Callisto'' | + | |
| - | *: ''Metamorphosis of Callisto into a Bear'' | + | |
| - | *: ''Mercury and Apollo'' | + | |
| - | *: ''Arion the Citharist is rescued by Dolphins'' | + | |
| - | *: ''Minerva and Prometheus'' | + | |
| - | *: ''Hercules slays the Dragon'' | + | |
| - | *: ''Hercules liberates Prometheus'' | + | |
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Sisto Badalocchio Rosa (1581 or 1585 - c. 1647) was an Italian painter and engraver of the Bolognese School.
Born in Parma, he worked first under Agostino Carracci in Bologna, then Annibale Carracci, in Rome. He worked with Annibale till 1609, then moving back to Parma. His best known work as an engraver was the Raphael's Bible series, which he created together with his fellow student, Giovanni Lanfranco. The images depict a series of frescoes by Raphael's workshop in the Vatican loggia. As a painter, his most important work is the frescoes the church of San Giovanni Evangelista, Reggio Emilia, which are based on Caravaggio's earliers works. He executed the decoration of the cupula and pendentives of the church of San Giovanni Evangelista in Reggio.
Though he often cooperated in fresco painting with Lanfranco, for example in Annibale designed series the San Diego Chapel in San Giacomo degli Spagnoli (1602-1607) and in Palazzo Costaguti (Nessus and Deianeira), Badalocchio never received the same recognition as his peer. Nevertheless, he is recognized today as an important figure in bring the artistic styles of the Italian Baroque to northern Italy.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Sisto Badalocchio" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
