Francesco Albani
(1578 - 1660) |
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Altarpieces for local churches and small pictures (sometimes on copper) of allegorical or mythological subjects with prominent landscape backgrounds Art Work
| Name: |
Francesco Albani |
| Gender: |
Male |
| Place of Birth: |
Bologna, Italy |
| Nationality: |
Italian |
| Birth: |
1578 |
| Death: |
1660 |
| Website: |
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| Past Auctions: |
Click Here |
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Quick Facts
| Known For: |
Altarpieces for local churches and small pictures (sometimes on copper) of allegorical or mythological subjects with prominent landscape backgrounds |
| Medium: |
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| Method: |
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| Style: |
Baroque |
| Fine Art Profession(s): |
Painter
Draughtsman
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Biography
| One of the first talents to emerge from the Carracci Academy, Francesco Albani enjoyed great fame well into the nineteenth century for his exquisite cabinet pictures. He started in Denys Calvaert's studio and then abandoned it for the progressive Annibale Carracci in 1595. His Madonna Enthroned with Sts. Catherine of Alexandria and Mary Magdalen from 1599, is his earliest surviving dated altarpiece. Elected that year to the newly founded compagna dei pittori in Bologna, Albani is credited with helping to establish the guild. Lured by Annibale's presence in Rome, Albani moved there in 1601 and became one of Annibale's most trusted assistants. Working on the Farnese project, Albani became increasingly valuable as Annibale fell ill, taking over the completion of the Aldobrandini Lunettes and the Herrera Chapel frescoes from 1604 to 1606. His Roman career was really launched after he completed the fresco cycle of 1609 and 1610 for the Palazzo Giusiniani at Bassano di Sutri. Before returning to Bologna in 1617, Albani also completed the first cycle of easel paintings, that were destined to become his specialty. Illustrating the rivalry between Love and Chastity, the allegories showed his poetic brush to great advantage and were an instant success. A conscious alternative to the more rustic themes and landscapes produced by the Bamboccianti, Albani's refined inventions remained in demand for the rest of his long life. From 1618 to 1621 Albani worked mainly in Bologna. Between 1625 and 1628 Albani evidently spent much of his time producing the small-scale cabinets featuring pastoral mythologies or the private devotional pictures for which he had become famous. In 1633 Albani produced the Annunciation (Bologna, S. Bartolomeo), and decorations for the Medici Villa in Mezzomonte in Florence. Important projects followed, including the altarpiece for the chapel of the Collegiate church, S. Giovanni in Persiceto, Bologna (commissioned in 1634); St. Andrew Adoring the Cross (documented 1639-41, Bologna, S. Marie dei Servi); and the Sebastian (completed 1636, Forli, Pinacoteca Communale). His Galatea is a particularly lovely example of his large-scale mythologies. Although he was sometimes criticized for being repetitive or commercial, the best of Albani's small pictures still reflect his undiminished imagination. Capable of fine religious sentiment, his sensuous, and dainty mythologies take on the preciousness of an object and anticipate the happy world of the rococo. He was a major figure in Bolognese art whose impact on French painting should not be underestimated. |
Samples of Work
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