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Venetian portraitist and historical painter who worked in many European countries in the international style of the Venetian Rococo. Elements of his style he borrowed from Sebastiano Ricci and the French Rococo, Tiepolo later. A few years Amigoni worked at the court of the elector of Bavaria, then in 1730, came to London, where he performed several decorative cycles (Rickmansworth, near London, Moor Park Golf Club) and portraits. In 1739 he returned to Venice, where he invited Canaletto to visit London (1746). In 1747 Amicone became court painter to the Spanish court.

Italian painter, draftsman, printmaker. The question of whether he is a native of Venice or Naples, remains controversial: the first biographer of the artist A. Longhi in his Compendio (1762) calls him a Venetian, but the Italian scientist John. Fiocchi published in 1935, he found notes in the book about getting Amigoni the title of Chevalier, and of the order of Calatrava (1750), where he was called the Neapolitan. He studied in Venice at A. Balestri, and then in A. Bellucci from Treviso, perhaps helping him in 1705-1711 in the works for the castle Bensberg in düsseldorf. The influence of A. Bellucci was evident in the early paintings Amigoni Moses receiving the crown and Moses with Pharaoh's daughter (both Basel, private collection). In Cologne, apparently became acquainted with the works of Dzh. A. Pellegrini; having been in Rome, had learned some painting techniques F. Solimena and Luca Giordano. Probably before his departure to Munich in 1717 he worked at the court of Joseph I in Vienna. In 1717-1729 executed many murals and easel works, in the service of the Bavarian court: paintings of castles Slashem (1725-1728), Nymphenburg (1717-1723) in Munich; Ottobeuren Abbey (1719), Lichtenberg castle and Palace Preysing in Munich (not preserved). From 1729 in 1739 lived in England, where he had great success; in 1736 he visited Paris, in 1739 he returned to Venice and visited Naples, Rome, 1747-1752 was at the court of the Bourbons in Madrid and in Venice. In Madrid he received from Ferdinand VI the title of "first painter of the king" (in this post he was replaced by A. R. Mengs), his family was appointed special pension and granted the right to visit the Royal apartments. Recent years have mainly worked in Venice, created the images of the altar for churches in Prato, este, Venice. Late work Amigoni remained little information.

In the work of the early period — the image of the altar of the Venetian Church of San STAE SV. Andrew and St. Catherine — expressive Baroque composition reminiscent of the works of Antonio Balestra, bright and joyful range of colors harkens back to the traditions of John. A. Pellegrini, too, who loved the combination of white, pink, green, blue colors. In Arcadia Venetian manner "virtuosos" performed work for the Bavarian palaces and villas — four overdoor lock, Nymphenburg with figures of putti, symbolizing the elements of fire, water, air and earth; Diana and Callisto (Berlin, NAT. gallery), Bacchus and Ariadne (private collection). Historical painting Emperor Max Emmanuel receives a letter from the Turkish Ambassador (Munich, gallery of the castle Slashem) is indicative of a lack Amigoni the propensity for such a solemn compositions.

During his stay in England Amigoni began to paint portraits in a landscape (one of the first in Italy, along with S. and M. Ricci), as well as small pictures of members of their families at home or in the Park in the manner of the English masters (Horace Walpole and his family, 1730, Norfolk., Voltern Hall). In England they are called "conversation pieces" ("interview scene"), in Italy — "conversazioni".

In the country of Albion Jacopo Amigoni came along with his friend, a famous Italian Opera singer Carlo Throws (1705-1782), nicknamed "castrato Farinelli". Neapolitan by birth (he was originally from the village of Andria in Apulia), Farinelli had a beautiful soprano, was married to comic actress Maria Antonia Marchesini (she is depicted in a portrait painted Amigoni Farinelli with his friends, Melbourne, NAT. gallery). Acquaintance of the artist and Farinelli occurred in Bavaria in 1728. Amigoni created several portraits of the singer (Bucharest, Museum of fine arts; Stuttgart, State. art gallery; Stockholm, NAT. gallery; Rome, Museum of Rome). The portrait from the Museum in Bucharest Farinelli is depicted surrounded by allegorical figures of Fame and Muse of lyrical singing of Euterpe, which crowns it. On the canvas of Stuttgart in a landscape with sea Bay in the distance, sitting at the score. The picture was painted in Madrid, as evidenced by the order of Calatrava on his jacket. With splendid craftsmanship discharged fluffy trees, white slim lace shirts of the musician. A soft palette Amigoni like echoes of inner grace was created to their image. During these years, Farinelli was the head of the court Opera, Ferdinand VI, was involved in staging the Opera-Seria in the palaces of Madrid and Aranjuez. He was known in musical circles, was a friend of Metastasio, in Bologna it was visited by Mozart.

In England Amigoni was a close circle of musicians and actors, preserved his drawings for the Opera Handel's Atalanta, delivered on the occasion of the marriage of the Prince of Wales. Amigoni some paintings on mythological subjects (the Death of Leander, Padova, private collection; Perseus freeing Andromeda, Massachusetts, Wellesley College; Juno and mercury, private collection) are associated with productions of melodramas in the theatre "in Lincoln fields", perhaps they depict scenes from the ballet pantomimes are put. In London it was written the Debutante canvas (private collection), which apparently shows a young actress, standing with a fan in the hand at the table. The bright colors of the portrait is reminiscent of the palette of the masters of the Rococo.

On his return from England Amigoni painted Magnanimity of Scipio (1739, Turin Royal Palace) in Turin for the yard; for the Abbey of Montecassino near Naples — Portrait of the family of Ferdinand IV (Naples, NAT. the Museum and galleries of Capodimonte), created in the spirit of "scenes interview". Amigoni a little interested in the character portrayed (a Portrait of the Infanta maría Teresa, Madrid, Prado; Queen Maria Carolina, 1735, London, NAT. portrait gallery). The artist's works are distinguished by bright colors and elegance of composition, characteristic of Venetian painting, Settecento. For the Abbey in Montecassino Amigoni performed in 1740-e two paintings on subjects from the history of Charlemagne (was not preserved and was recorded by F. de moor). The theme of the theater attracted Amigoni, and in the later works to his friend Farinelli, who worked from 1737 to the Opera in the Spanish court, he painted a picture of the Forsaken Dido (private collection) based on the eponymous Opera by Metastasio.

In 1740-ies the artist created the painting of the Villa in Stra (judgment of Paris), the altar images of the Cathedral of este in the Execution of St. Tecla (1742), Madonna and child (1739-1747, Pordenone, private collection) and the parish Church of Prato (C. Ravenna) — Madonna with St. Domenico and St. Rose of Lima, Immaculate conception (1739-1747, Pordenone, Mountains. Museum). Arcadia Rococo style and bright palette of the artist brings them a sense of joyful attitude, as in the works of S. Ricci, the characters are transmitted in a real communication; their pink bodies of figurines angels and cherubs reminiscent of the bright, scattered across the canvas flowers.

Jacopo Amigoni was one of the last major "artists-virtuosos" of Venice; his works enjoyed great popularity in Europe and due to the fact that many of them were reproduced in an engraving by Amigoni and such talented engravers like Th. Wagner (they still met in Munich, and then Wagner studied in Rome), J. , Bartolozzi, John. Volpato, K. Flipper.

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