#Cesare Gennari

[eahostudiogallery]

art glass

Cesare Toffolo - Anfora Amber

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Gyorgy Kepes - Abstraction, 1947

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unknown

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Joostmarkerink selfie

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Yayoi Kusama - Lemon Squash (3)

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Violet Dennison - Chapter Four - Disappointment

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Christina Bothwell - Awakening

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broken dreams

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Mark Adams

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Christos Bokoros - The Bare Essentials

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Scott Prior

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unknown

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Francesco Gennari

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Mark Dunford - Buddleja Globosa

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Lalique - Dans la nuit. 1924

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Kaj Franck - Kunstglass

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Wednesday: may flowers

eahostudio gallery

[byneddiedingo]

Carlo Battisti in Umberto D. (Vittorio De Sica, 1952)

Cast: Carlo Battisti, Maria Pia Casilio, Lina Gennari, Ileana Simova, Elena Rea, Memmo Caretenuto, De Silva. Screenplay: Cesare Zavattini. Cinematography: G.R. Aldo. Production design: Virgilio Marchi. Film editing: Eraldo Da Roma. Music: Alessandro Cicognini.

Umberto D. is sometimes grouped with Shoeshine (Vittorio De Sica, 1946) and Bicycle Thieves (De Sica, 1948) as the completing element in a trilogy about the underclass in postwar Rome. Shoeshine could be said to be a film about youth, Bicycle Thieves about middle age, and Umberto D. about old age. All three were directed by De Sica from screenplays by Cesare Zavattini that earned the writer Oscar nominations. Although Umberto D. is unquestionably a great film, it also seems to me the weakest of the three, largely because De Sica and Zavattini can't fully avoid the trap of sentimentality in telling a story about an old man and his dog. Umberto D. also relies too heavily on its score by Alessandro Cicognini to tug on our heartstrings. These flaws are mostly redeemed by the great sincerity of the performances, particularly by Carlo Battisti as Umberto, but also by Maria Pia Casilio as the pregnant housemaid, and Lina Gennari as Umberto's greedy landlady. Battisti, a linguistics professor who never acted before or after this film, is the perfect embodiment of the crusty Umberto Domenico Ferrari, a retired civil servant living on a pension that's inadequate to his needs. We're told that he has "debts," which include back rent to the landlady. He has no family except his dog, a small terrier called Flike, whom he dotes on, and no friends except for the housemaid, whose plight, since she's pregnant by one of two soldiers who have no intention of marrying her, is not much better than his. The film is most alive when it follows these characters on their daily rounds: the maid getting up in the morning and starting her chores, which include a continuing battle against the ants that infect the flat, and Umberto walking Flike, encountering old friends who carefully avoid noticing his plight or helping him out of it. He's too proud to beg and unwilling to go into a shelter because he would have to abandon Flike. In the end, he is forced out of the flat by the landlady, and wanders into a park where he tries to give Flike away to a little girl who has played with him there before. Her nursemaid, however, refuses to consider it -- dogs are dirty, she says. In a desperate moment, he picks up Flike, ready to stand in front of an oncoming train and die with him on the railroad tracks, but the dog panics, squirms out of his arms, and runs away. The film concludes with Umberto, having regained Flike's confidence, playing with the dog, their future still uncertain. The inconclusiveness of the final scene helps reduce the sentimentality that has flooded the sequence and focus our attention on Umberto's plight, rather than gratify our desire for closure.

#Umberto D. #Vittorio De Sica #Carlo Battisti

[books0977]

Cleopatra (c.1663). Cesare Gennari (Italian, 1637-1688). Oil on canvas.

Cesare moved to Bologna in 1643 on his uncle Guercino's instigation, moving into the latter's home and entering his workshop with his painter brother Benedetto Gennari. This painting was executed by Cesare in the workshop, however, some critics suggested that Guercino may have had a hand in its execution.

#art #history #Cleopatra #Cesare Gennari #Italian

[justineportraits]

Cesare Gennari (1637 1688)  Rinaldo and Armida

#cesare gennari #armida

[maertyrer]

attributed to Cesare Gennari St. Agnes

oil on canvas, 114.9 x 96.2 cm, 17th century

#cesare gennari #saint #agnes #lamb #martyr #17th century #baroque

[triste-le-roy]

Saint John of the Cross (Cesare Gennari, 17th century).

(via Pinterest)

#saint john of the cross #christian mystic #mysticism #poet #cesare gennari #renaissance painting #painting #art #occult #collin colsher #gnosticism #christianity #heresey #heresy

[history-of-fashion]

1676 Cesare Gennari - Portrait of Laura Garzoni

(Pinacoteca Civica Domenico Inzaghi)

#1670s #17th century #Cesare Gennari #women

[1five1two]

'Cleopatra'. Attributed to Cesare Gennari. 1637-1688.

#art #painting #art history #cesare gennari #italy #cleopatra #queen #beauty #portrait

[letterboxd-loggd]

Treno popolare (Middle-Class Train) (1933) Raffaello Matarazzo

August 3rd 2021

#treno popolare #middle-class train #1933 #raffaello matarazzo #lina gennari #marcello spada #carlo petrangeli #cesare zoppetti #jone frigerio #maria denis #tourist train

[antonio-m]

"Orpheus Playing the Violin", by Cesare Gennari (1637–1688). Italian painter of the Baroque period. oil on canvas

[burniture]

† crayon drawing of Cesare Gennari’s ‘’ Magdalena penitente ‘’ c.1600s †

[databass3]

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#masterpost

[lescuriositesdelafoire]

Cesare Gennari, Cleopatra

[harvard-art-museums-drawings]

A Study for the Magdalene, Cesare Gennari, 16th-17th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Bequest of Charles A. Loeser Size: actual: 14.6 x 11.8 cm (5 3/4 x 4 5/8 in.) Medium: Black chalk on off-white antique laid paper

https://www.harvardartmuseums.org/collections/object/298722

#cesaregennari

[svkhavati]

"What is grace?” I asked God.

and He said,

“All that happens.”

Then He added, when I looked perplexed,

“Could not lovers

say that every moment in their Beloved’s arms was grace?

Existence is my arms,

though I well understand how one can turn

away from

me

until the heart has

wisdom.

- Saint John of the Cross

Saint John of the Cross (Cesare Gennari, 17th century).

#love #mysticism #religion #spirituality #quotes #poetry #sufi #nondualism #theology #wisdom #god #sufism #christianity #sikh #christ #christian mysticism #jesus christ #saint john of the cross #st. john of the cross #catholic #orthodox #christian #grace #bhakti #mythology #protestant #quaker #dark night of the soul #rennaisance art #cesare genarri

[italianartsociety]

By: Amy Fredrickson

Baroque painter and prolific draftsman Giovanni Francesco Barbieri, known as Guercino, died on 22 December 1666 in Bologna. He was born on 8 February 1591 in Cento, a rural town located near Ferrara in Emilia-Romagna. According to his contemporary biographer Carlo Cesare Malvasia, Guercino was nicknamed “the squinter” after he was left cross-eyed following a childhood accident

Guercino trained locally in the art of drawing; however, he was largely a self-taught artist. He entered Benedetto Gennari the Elder's workshop where he remained until Gennari’s death in 1610. Guercino's paintings display a clear influence from both the Ferrarese and Bolognese schools. Moreover, his works especially show the influence of Ludovico Carracci.

In 1613, Guercino received his first commission, which was acquired through his friend and supporter, Father Antonio Mirandola. He painted an altarpiece depicting the Glory of All Saints for the church of Santo Spirito in Cento.  

Other notable private commissions followed, such as frescoes in the Provenzale and Panini residences in Cento. Guercino also had notable commissions from the Medici and Gonzaga families.  

In 1621, Pope Gregory XV invited Guercino to Rome, where the artist stayed for close to three years. He played an influential role in the development of Roman High Baroque art. One of Guercino's largest commissions was the decoration of the Casino Ludovisi, for the Pope's nephew. The main fresco, a portrait of Aurora, exhibits Guercino’s mastery of foreshortening, which was used to create the illusion that there was no ceiling to the viewer.

After Pope Gregory XV died in 1623 Guercino returned to Cento, where he opened a bustling studio. His reputation was solidified in Rome, and his works were sought after internationally. He received commissions from King Charles I of England and Marie de’ Medici, Queen Mother of France. In fact, he turned down the opportunity to be a court artist in both London and Paris.

When Guido Reni died in 1642, Guercino moved to Bologna where he ran his studio and was the lead painter until his death in 1666. 

References:

Griswold, William M., "Guercino," Metropolitan Museum of Art Bulletin 48 (Spring 1991).

Mahon, Denis and Nicholas Turner, The Drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle, (Cambridge, 1989).

Malvasia, Carlo Cesare, Felsina pittrice: Vite de' pittori bolognesi. 2 vols. (2nd ed., Bologna, 1841).

Images: 

Semiramis Called to Arms, 1645, Oil on canvas, 130 x 152 cm, Private Collection.

Hersilia Separating Romulus and Tatius, 1645, Oil on canvas, 253 x 267 cm, Musée du Louvre, Paris. 

The Flagellation of Christ, 1657, Oil on canvas 250 x 185 cm, Galleria Nazionale d'Arte Antica, Rome. 

The Entombment of Christ, 1656, Oil on canvas, Art Institute, Chicago.

Samson Captured by the Philistines, 1619, Oil on canvas, 191 x 237 cm, Metropolitan Museum of Art, New York.

Et in Arcadia Ego, 1618-22, Oil on canvas, 82 x 91 cm, Galleria Nazionale d'Arte Antica, Rome.

Portrait of Paul Gregory XV, 1622-23, Oil on canvas, 134 x 98 cm, J. Paul Getty Museum, Los Angeles. 

Aurora, 1621, Fresco, Casino dell'Aurora, Villa Boncompagni, Ludovisi, Rome. 

#Baroque Art #seventeenth century #painting #fresco #17th century #Guercino #Rome