Giovanni Battista Caracciolo
(1578 - 1635) |
|
Altar Pieces, Frescos Art Work
| Name: |
Giovanni Battista Caracciolo |
| Gender: |
Male |
| Place of Birth: |
Amsterdam |
| Nationality: |
Italian |
| Birth: |
1578 |
| Death: |
1635 |
| Website: |
|
| Past Auctions: |
Click Here |
|
|
Quick Facts
| Known For: |
Altar Pieces, Frescos |
| Medium: |
|
| Method: |
|
| Style: |
|
| Fine Art Profession(s): |
Painter
|
|
|
Biography
| Caracciolo was one of the founders of the Neapolitan school, along with Ribera. Although he has been called a pupil of Imparato and perhaps F. Stanfede, his actual training remains unclear. The earliest surviving document records Caracciolo's activity with Belisario Corenzio and Luigi Rodriguez on the facade of Monte di Pieta in 1601. Caracciolo apparently worked for nearly a decade in the mannerist style of Cavaliere d'Arpino, though no works from this period are known to survive. He quickly absorbed Caravaggio's naturalism and experimented with the dramatic potential of contrasting lighting. At this time Caracciolo also gained the patronage of the Pio Monte della Miscricordia and the Society of Jesus, his most important lifelong supporters. In 1614 Caracciolo traveled to Rome, where he met Orazio Gentileschi. Between 1615 and 1617 he was back in Naples executing a number of altarpieces and frescoes including St. Peter Liberated from Prison signed and dated 1615, Naples, Chiesa del Pio Monte della Misericordia.Two years later he painted his unusual Earthly and Divine Trinity Naples, Chiesa della Pieta dei Turchi, which is similarly conceived. He returned to Rome in 1617, registered in the Guild of St. Luke, and evidently studied Annibale Carracci's Farnese Gallery. He also met the artists working at the Palazzo Quirinale Turchi, Tassi, Saraceni, Lanfranco, Spadarino. Caracciolo made a trip to Florence in 1618, where he painted Rest on the Flight into Egypt Florence, Pitti and studied Florentine Seicento painters. By late 1618 he was active in Genoa, where he frescoed the casino of Marcantonio Doria at Sanpierdarena. This provided new visual alternatives which were soon evident in his painting. His Madonna d'Ofpiissanti Stilo, Cathedral reflects a new sculptural sense of form, a massiveness and careful symmetrical arrangement of figures all learned from Roman classicists. The friezelike arrangment in Caracciolo's Washing of the Feet dated 1622, Naples, Certosa di San Martino is a further response to new sources, while its lighting and figure types remain more Caravaggesque. The Annunciation Hartford, Wadsworth Atheneum, one of his most appealing works, was clearly inspired by Saraceni. After 1630 Caracciolo more emphatically re defined his color and lightened his palette though not consistently abandoning the dramatic potential of strongly contrasted lighting. His figures tended to become more generalized and are described from vantage points which have their origins in the sixteenth century. |
Samples of Work
|
|
