| Known as one of the leading Roman painter in the late sixteenth and early seventeenth century, Cesari worked in a mannerist style that was to be eclipsed by Caravaggio,who entered Cesari's studio in 1593 and the Carracci. Representative of a conservative tradition, Cesari was nonetheless an important figure whose work remained in demand in the provincial centers around Rome. Best known today for his contribution to Caravaggio's development, Cesari has been partially restored to his prior eminence, thanks mainly to the efforts of H. Roettgen. Giuseppe was presumably the pupil of his father, a local painter of exvoti. Contemporary sources describe Giuseppe as a child prodigy. He arrived in Rome in 1582 where he worked under Pomarancio Niccolo Circignani in the Vatican Logge and his talent reportedly astonished the older painter. In 1583 he participated in the decoration of the Sala Vecchia degli Swizzeri and the Sala dei Palafrenieri at the Vatican. He decorated the Stanze di Gregorio XII of the Quirinal with the story of St. Gregory in 1585. In 1589 he painted the Feats of Hercules in the Loggia Orsini in the House of Sixlus V. H Cesari's career reached its apex around 1600. His commissions included decorations in the Certosa di San Martino, decorations for the Contarelli chapel in San Luigi dei Francesi awarded in 1593, for which Arpino completed the vault and for which Caravaggio later executed his St. Matthew series. From 1593 to 1595 Cesari was at work on the Olgiatti Chapel in Santa Prassede in Rome. In 1595 he began decorations for the Palazzo dei Conservatori on the Capitoline, a project that was only completed in the year of his death, 1640. From 1599 to 1601 Cesari undertook the decoration of S. Giovanni Laterano, for which Clement VIII awarded him the title Cavaliere di Christo, or Knight of Christ. At that point he was the leading exponent of ceremonial and history painting in Rome. More commissions followed, including designs for the mosaics of the cupola of St. Peter's. He also oversaw the decoration of the Cappella Paolina in Santa Maria Maggiore from 1610 to 1612. He was Principe of the Academia di San Luca three times (1599,1615, and 1629) and in 1630 Louis XIII bestowed on him the Cross of the Order of St. Michael. Cesari's style is characterized by a smoothly painted yet palpable surface that exudes a sensuous quality, perfectly compatible with the often sentimental or erotic nature of his subject matter. Influenced by the mannerist traditions of the sixteenth century, Cesari's work has particular affinities with the work of Domenico Beccafumi, the Sienese mannerist whose work is now gaining considerable recognition. Working in both large and small scale, Cesari endowed his murals with monumentality and his small works with a precious virtuosity. Despite the strained relationship that developed between Caravaggio and Cesari in 1603, there can be no doubt of their earlier friendship. Not only did Caravaggio spend eight months in Cesari's studio, where he probably painted still lifes, but Cesari also certainly influenced Caravaggio's style and assisted him in his early commissions. Cesari's compositions, such as his Raising of Lazarus Rome, Palazzo Barberini, clearly inspired later paintings by Caravaggio. Secure enough in the validity of his own approach to painting, Cesari also had the sense to recognize the quality of Caravaggio's work. He owned several that were seized in 1607 by the cardinal's nephew, Scipione Borghese. When Urban VIII came to power 1623-44 Cesari had fewer commissions in Rome, but he remained in demand by patrons from Perugia, Reggio, and surrounding areas. The fact that Cesari remained successful throughout his lifetime reflects the continued viability of a style quite at odds with the Caravaggist realism, and the classical monumentality of the Carracci which emerged in the early seventeenth century. Cesari's work does share an affinity with the refined, smooth, and sweetly sentimental works of Albani. Masterpieces of his easel painting include the Betrayal of Christ. Adopting the heroic muscular figures developed by the Carracci, Cesari filled the scene with them, keeping them carefully arranged to tell his story clearly and effectively. Certain figures such as the soldier grabbing Christ must certainly have inspired Caravaggio, while the lighting and the use of odd, cave-like natural forms clearly remind one of Beccafumi. Like Beccafumi, Cesari created his forms out of what sometimes appear to be geometric facets, relying on hard edges to organize and clarify his images. Also, the succulent quality of the paint itself is emphasized through this means and ameliorates the otherwise brittle nature of the paintings. Cesari was often at his best painting small-scale pictures, which were in sufficient demand to be executed in several versions. Erotic subjects such as Perseus and Andromeda, involving nudes, were particularly popular, offering Cesari the opportunity to exercise his virtuoso skills at painting. Nearly objects like in their preciousness, these smaller works were often executed on unusual surfaces, such as slate and copper. Cesari was also a gifted draftsman whose drawings are highly prized today. |
