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・ Pier Donato Cesi (1521–1586)
・ Pier Donato Cesi (1583–1656)
・ Pier Duilio Puccetti
・ Pier Ferdinando Casini
・ Pier Filippo Mazza
・ Pier Francesco Battistelli
・ Pier Francesco Cavazza
・ Pier Francesco d'Jacopo di Domenico Toschi
・ Pier Francesco Ferrero
・ Pier Francesco Fiorentino
・ Pier Francesco Foschi
・ Pier Francesco Garoli
・ Pier Francesco Guala
・ Pier Francesco Guarguaglini
・ Pier Francesco Mazzucchelli
Pier Francesco Mola
・ Pier Francesco Orsini
・ Pier Francesco Pingitore
・ Pier Francesco Prina
・ Pier Francesco Sacchi
・ Pier Francesco Silvani
・ Pier Francesco Tosi
・ Pier Francesco Valentini
・ Pier Gerlofs Donia
・ Pier Giacomo Castiglioni
・ Pier Giacomo Grampa
・ Pier Giacomo Pisoni
・ Pier Giorgio Cazzola
・ Pier Giorgio Dall'Acqua
・ Pier Giorgio Di Cicco


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Pier Francesco Mola : ウィキペディア英語版
Pier Francesco Mola

Pier Francesco Mola, called Il Ticinese (9 February 1612 – 13 May 1666) was an Italian painter of the High Baroque, mainly active around Rome.
==Biography==
Mola was born at Coldrerio (now in Ticino, Switzerland). 〔''Ecstasy in the Wilderness: Pier Francesco Mola's "The Vision of Saint Bruno" '', Dawson W. Carr, ''The J. Paul Getty Museum Journal'', Vol. 19 (1991), 99.〕 At the age of four, he moved to Rome with his father Giovanni Battista, a painter.〔 With the exception of the years 1633–40 and 1641–47, during which he resided in Venice and Bologna, respectively, he lived for the rest of his life in Rome.〔
His early training was with the late mannerist painter Cavalier d'Arpino, and he worked under the classicizing Francesco Albani.〔
His masterpiece is the fresco in the gallery of Alexander VII in the Quirinal Palace Gallery, entitled ''Joseph making himself known to his Brethren'' (1657).〔(Qurinale Gallery. ).〕 He made six versions of The Flight into Egypt, the earliest and best of which is the first one, ''The Rest on the Flight into Egypt''.
He was elected ''Principe'' of the Accademia di San Luca, the Roman artists' professional association, in 1662, but his last years were neither profitable nor prolific. Among his pupils were Jean-Baptiste Forest, Antonio Gherardi, and Giuseppe Bonati.
With his looser style and handling, more naturalistic palette, and interest in exploring landscape elements, Mola differs from the prevailing, highly-theoretical classicism of such leading 17th-century Roman painters as Andrea Sacchi.

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