♣ 미술(美術) 마당 ♣/- 화가[畵家]

Guido Reni

Bawoo 2015. 7. 25. 00:19

Guido Reni
Renisp.jpg
Self portrait, c. 1602
Born (1575-11-04)November 4, 1575
Bologna
Died August 18, 1642(1642-08-18) (aged 66)
Bologna
Nationality Italian
Known for Painting
Movement Baroque

 

Guido Reni (4 November 1575 – 18 August 1642)[1] was an Italian painter of high-Baroque style.

귀도 레니(이탈리아어: Guido Reni, 1575년 11월 4일 ~ 1642년 8월 18일)는 바로크 시대의 이탈리아의 화가이다.============================================================================

<작품 볼 수 있는 곳- http://blog.daum.net/kmozzart/4494>

생애

귀도 레니는 볼로냐의 음악가 집안 출신이었던 다니엘레 레니(Daniele Reni)와 기네브라 데 포치(Ginevra de'Pozzi) 사이에서 태어났다. 9살이 되던 해에 그는 데니스 칼배트(Denis Calvaert)의 화실에서 견습생이 되었다. 얼마 지나지 않아 레니는 알바니(Albani)와 도메니치노(Domenishino)의 화실에 합류하게 된다. 그는 페란티니(Ferrantini)라는 이름의 화가에게서도 미술 교육을 받았다. 레니가 12살이 되었을 무렵, 칼배트의 제자 3명이 루도비코 카라치(Ludovico Carracci : 안니발레 카라치의 사촌)와 함께 칼배트 화실과는 라이벌 관계였던 다른 화실, Accademia degli Incamminati("새로이 출항하는" 혹은 진보하는 학원이라는 뜻)로 전향하게 된다. 그들은 안니발레 카라치를 추종했던 볼로냐의 화가들을 위해 훌륭하고 성공적인 학교의 토대를 건설하려 했다. 볼로냐의 타 화가들처럼 귀도 레니의 작품들은 폭넓은 주제를 이용하는 스타일이 많다.

로마에서의 활동

1601년이 저물어가던 시기에 레니와 알바니는 로마로 떠나 안니발레 카라치의 파네스 성(Farnese Palace)의 프레스코 장식 프로젝트에 참여하게 된다. [1] 1601년에서 1604년까지 그의 대표적인 고객은 스폰드라토 추기경이었다. 1604년에서 1605년, 레니는 "십자가에 못 박힌 성 베드로"에 관한 세 폭 제단화를 의뢰받게 된다. 볼로냐에서 몇 년간을 머물다가 그는 로마로 돌아가며 교황 바오로 5세의 임기 기간 동안 첫째가는 화가로서 인정받게 되었다. 1607년에서 1614년까지 그는 House of Borghese 에서 후원받는 화가들 중 한 사람이 되었다.

디아니라 유괴(디아니라는 헤라클레스의 아내였다), 1620-1621.

 

레니가 Palazzo Pallavicini-Rospigliosi에 위치한 "오로라 별장"이라는 성의 중앙 홀 천장에 그린 프레스코 작품은 오늘날 그의 걸작으로 평가되고 있다. 이 별장은 본래 Scipione Borghese 추기경을 위한 별관이었다. [2] 뒤쪽 부분은 Piazza Montecavallo와 Palazzo del Quirinale를 내려다보고 있는 형태이다. [3]. 이 훌륭한 프레스코는 in quadri riportati 방식으로 테두리가 장식되었으며 태양의 신 아폴로와 그의 황금전차가 세상에 빛을 가져오는 새벽(오로라)을 따라가는 모습을 표현하고 있다. [4]. 이 작품은 엄격한 고전주의적인 기법이 돋보이는데, 로마의 Sarcophagi에 등장한 포즈를 그대로 모사했다던가 파네스 성에 전시되어 있는 안니발 카라치의 유쾌한 "바쿠스와 아리아드네의 승리"같은 작품보다 훨씬 더 간결함과 절제를 추구하는 것이 그 이유다. [5]

 

귀도 레니의 작풍을 따지자면 엄격함이 특징인 Giuseppe Cesari(카발리에 알피노라고도 불림)나 지오바니 란프란코(Giovanni Lanfranco), 그리고 프란세스코 알바니(Francesco Albani)학교의 신화와 역사화에게 많은 영향을 받았다 할 수 있다. 또한 프레스코에 대해서는 피에트로 다 코토나(Pietro da Cortona)의 꽉 차 있는 구도 등에서 영향을 받은 것으로 보인다.

각주

  1. 이동 ↑ 구이도 레니:리뷰를 리뷰하다,Stephen D. Pepper; Richard E. Spear. The Burlington Magazine (1990)132(10): p219-223.
  2. 이동 ↑ 오로라 별장 Pallavicini. Conference center - 로마, 이탈리아
  3. 이동 ↑ Google Maps
  4. 이동 ↑ 귀도 레니의 오로라
  5. 이동 ↑ 이미지 파일-프레스코

Biography

Born in Bologna into a family of musicians, Guido Reni was the son of Daniele Reni and Ginevra de’ Pozzi. As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. Soon after, he was joined in that studio by Albani and Domenichino. He may also have trained with a painter by the name of Ferrantini. When Reni was about twenty years old, the three Calvaert pupils migrated to the rising rival studio, named Accademia degli Incamminati (Academy of the "newly embarked", or progressives), led by Lodovico Carracci. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. Like many other Bolognese painters, Reni's painting was thematic and eclectic in style.

Work in Rome

By late 1601, Reni and Albani had moved to Rome[2] to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. During 1601–1604, his main patron was Cardinal Paolo Emilio Sfondrati. By 1604–1605, he received an independent commission for an altarpiece of the Crucifixion of St. Peter. After a few year sojourn in Bologna, he returned to Rome to become one of the premier painters during the papacy of Paul V (Borghese). From 1607–1614, he was one of the painters patronized by the Borghese family.

Bacchus and Ariadne, circa 1619-1620, held in Los Angeles County Museum of Art.

Reni's frescoed ceiling of the large central hall of garden palace, Casino dell'Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece. The casino was originally a pavilion commissioned by Cardinal Scipione Borghese;[3] the rear portion overlooks the Piazza Montecavallo and Palazzo del Quirinale.[4] The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world.[5] The work is restrained in classicism, copying poses from Roman sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne[6] in the Farnese. Reni in this painting allies himself more with the sterner Cavaliere d'Arpino, Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers. Payments showed that he was paid in 247 scudi and 54 baiocchi upon completion on 24 September 1616.

 

He also frescoed in Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annuciation) was assigned to Reni to paint. However, because he felt underpaid by the ministers, the artist left for Bologna, leaving the role of the preeminent artist in Rome to Domenichino.

Work in Naples and return to Bologna

Saint Joseph and the Christ Child.
Joseph and Potiphar's Wife c.1630.

In 1618, Reni traveled to Naples to complete a commission to paint a ceiling in a chapel of the San Gennaro.[7] However, in Naples, the other local prominent painters, including Corenzio, Caracciolo and Ribera, were vehemently resistant to competitors, and according to rumor, conspired to poison or otherwise harm Reni (as may have befallen Domenichino in Naples after him). He passed briefly by Rome, but left that city abruptly, during the pontificate of Urban VIII, after being reprimanded by Cardinal Spinola.

Returning to Bologna, more or less permanently, Reni established a successful and prolific studio. He was commissioned to decorate the cupola of the chapel of Saint Dominic in the Basilica of San Domenico in Bologna, between 1613 and 1615, resulting in the radiant fresco St Dominic's Glory, a masterpiece that can stand the comparison with the exquisite Arca di San Domenico below. He also contributed to the decoration of the Rosary Chapel in the same church with the Resurrection.

In Ravenna, he painted the chapel in the cathedral with his admired picture of the Israelites gathering Manna. Reni, after departing Rome, alternately painted in a variety of styles, true to the eclectic tastes of many of Carracci trainees. For example, his altarpiece for Samson Victorious formulates stylized poses characteristic of Mannerism.[8] In contrast his Crucifixion and his Atlanta and Hipomenes[9] depict dramatic diagonal movement coupled with the effects of light and shade that portray the influence of Caravaggio. His turbulent and violent Massacre of the Innocents (Pinacoteca, Bologna) is painted in a manner reminiscent of Raphael. In 1625 Prince Władysław Sigismund Vasa of Poland visited the artist workshop in Bologna during his voyage to Western Europe.[10] The close rapport between the painter and the Polish Prince resulted in the acquisitions of drawings and paintings.[10] In 1630, he painted the Pallion del Voto with images of St. Ignatius and Francis Xavier, painted during the plague of 1630 that attacked Bologna.

His themes are mostly biblical and mythological in subject. He painted few portraits; those of Sixtus V, Cardinal Bernardino Spada, and the so‑called Beatrice Cenci are among the most noticeable. The identity of the Cenci portrait is very doubtful, since Beatrice Cenci was executed in Rome before Reni ever lived there and so could not have sat for the portrait. Many etchings are attributed to Guido Reni, some after his own paintings and some after other masters. They are spirited, in a light style of delicate lines and dots. Reni's technique was used by the Bolognese school and was the standard for Italian printmakers of his time.[11]

Reni died in Bologna in 1642. He is buried with Elisabetta Sirani in the Rosary Chapel of the Basilica of San Domenico in Bologna.

Pupils

Through his pupils, Reni had wide ranging influence on later Baroque. His most distinguished pupil was Simone Cantarini, named Il Pesarese; he painted a portrait of his master, now in the Bolognese Gallery. Other trainees were Antonio Buonfanti (il Torricello), Antonio Giarola (Cavalier Coppa), and Giovanni Battista Michelini. The Uffizi Gallery holds a self-portrait. Other pupils were Guido Cagnacci,[12] Giovanni Boulanger of Troyes,[13] Vincenzo Gotti of Bologna,[14] Emilio Savonanzi of Bologna,[15] Sebastiano Brunetti of Bologna,[16] Paolo Biancucci of Lucca,[17] Tommaso Campana of Bologna,[18] Domenico Maria Canuti of Bologna,[19] Pietro Ricci or Righi of Lucca,[20] Bartolomeo Marescotti of Bologna,[21] Pietro Lauri Monsu,[22] Giacomo Semenza,[23] Giovanni Maria Tamburino of Bologna,[24] Gioseffo and Giovanni Stefano Danedi,[25] Giovanni Giacomo Manno,[26] Carlo Cittadini of Milan,[27] Luigi Scaramuccia,[28] Bernardo Cerva,[29] Francesco Costanzo Cattaneo,[30] Francesco Gessi, Marco Bandinelli, and Pietro Gallinari in Bologna (Pierino del Signor Guido).[31]

Partial anthology of works

Massacre of the Innocents, (1611).
David with the Head of Goliath, oil on canvas.

Gallery

  • St Matthew and the Angel

  • Saint James the Greater

  • Europa and the Bull

  • The Holy Family

  • The Archangel Michael wears a late Roman military cloak and cuirass

  • The Baptism of Christ.

  • Joseph and Potiphar's Wife, 1631

  • Hercules Vanquishing the Hydra of Lerma, ca. 1617 and 1620

  • Jesus Christ with the cross

  • St John the Baptist in the Wilderness

  • David and Abigail, religious biblical painting

  • St Dominic's Glory crowning the Arca di San Domenico

The Louvre contains twenty of his pictures, the National Gallery of London seven, and others once there have now been removed to other public collections. Among the seven is the small Coronation of the Virgin, painted on copper. It was probably painted before the master left Bologna for Rome.

 

* 출처: 정보- 책"어머니를 그리다" 24~27쪽/ 수집-한국어 위키백과 및 영어 위키백과

저작자표시 비영리 변경금지

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