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Айдос уики (талқылау | үлесі) Өңдеу түйіні жоқ |
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[[File:Accademia - La Meditazione by Domenico Fetti 1618.jpg|thumb|''Magdalene in Meditation'' ([[Accademia, Venice]])]] |
[[File:Accademia - La Meditazione by Domenico Fetti 1618.jpg|thumb|''Magdalene in Meditation'' ([[Accademia, Venice]])]] |
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[[File:Domenico Fetti (Italian - Portrait of a Man with a Sheet of Music - Google Art Project.jpg |thumb |''Portrait of a Man with a Sheet of Music'' ([[Getty Museum]])]] |
[[File:Domenico Fetti (Italian - Portrait of a Man with a Sheet of Music - Google Art Project.jpg |thumb |''Portrait of a Man with a Sheet of Music'' ([[Getty Museum]])]] |
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'''Доменико Фетти''' ({{lang-it|Domenico Fetti}}, [[1589]], [[Рим]] — [[1623]], [[Венеция]]) — [[барокко]] дәуіріндегі италяндық суретші. |
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==Biography== |
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1604–1613 жылы [[Рим]] қаласында туылған. Кейіннен 1613 және 1622 жылдар аралығында ол [[Мантуя]] қаласында жұмыс істей бастаған, Алғашында Кардинал қамқорлығына, кейіннен Фердинандо I Гонзаганың қамқорлығына алынған. Палаццо Дукале жерінде ол ''Miracle of the Loaves and Fishes'' суретін салған болатын. Жаңа өсиеттің репрезентациясын ол өзінің қамқоршысының кабинетінде орындады. Соңында бұл жұмыс жеке мамандық тудырды.<ref>Pamela Askew, "The Parable Paintings of Domenico Fetti." ''Art Bulletin'' '''43''' (1961:31–32], reprinted in ''Seventeenth Century Art in Italy, France and Spain'' (The Garland Library of the History of Art 8). New York, 1976.</ref> and he and his studio often repeated his compositions.<ref>Some examples: ''The Good Samaritan'', attributed to Fetti himself, ca 1618–22 ([[Metropolitan Museum of Art]]), repetitions by Fetti are in Boston and Dresden, as well as studio repetitions; ''Parable of the Mote and the Beam'', attributed, ca 1619 (Metropolitan Museum); ''Parable of Lazarus and the Rich Man'', workshop, ca 1618–1628 (National Gallery of Art, Washington DC).</ref> |
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In August or September 1622,<ref>Askew 1978.</ref> his feuds with some prominent Mantuans led him to move to [[Venice]], which for the first few decades of the seventeenth century had persisted in sponsoring [[Mannerist]] styles (epitomized by [[Palma the Younger]] and the successors of [[Tintoretto]] and [[Paolo Veronese|Veronese]]). Into this mix, in the 1620s–30s, three "foreigners"—Fetti and his younger contemporaries [[Bernardo Strozzi]] and [[Jan Lys]]—breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to [[Caravaggio]]-influenced realism and monumentality.<ref>See [[Alfred Moir]], ''The Italian Followers of Caravaggio.'' 2 vols. (Harvard University Press) 1967.</ref> |
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In Venice, where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalized painting style became more colorful. In addition, he devoted attention to smaller cabinet pieces that adapt [[Genre works|genre]] imaging to religious stories. His group of paintings entitled ''Parables'', which represent [[New Testament]] scenes, are at the [[Gemäldegalerie Alte Meister|Dresden Gemäldegalerie]]. He influenced [[Leonaert Bramer]]. |
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His painting style appears to have been influenced by [[Peter Paul Rubens|Rubens]]. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 or 1624. [[Jan Lys]], eight years younger, but who had arrived in Venice nearly contemporaneously, died during the plague of 1629–30. Subsequently, Fetti's style would influence the Venetians [[Pietro della Vecchia]] and [[Sebastiano Mazzone]]. His pupils in Mantua were [[Francesco Bernardi (painter)|Francesco Bernardi]] (il Bigolaro) and [[Dionisio Guerri]].<ref>[https://books.google.com/books?id=MhSkBGcaIBMC&pg=PA154 ''Le vite de' pittori, degli scultori, et architetti veronesi''], by Bartolomeo Dal Pozzo (1718), page 169.</ref> |
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18:25, 2018 ж. мамырдың 19 кезіндегі нұсқа
| Доменико Фетти | |
| Domenico Fetti | |
 Доменико Фетти | |
| Туған күні | |
|---|---|
| Туған жері | |
| Қайтыс болған күні | |
| Қайтыс болған жері | |
| Азаматтығы |
Италяндық |
| Өнер ағымы | |
Доменико Фетти (итал. Domenico Fetti, 1589, Рим — 1623, Венеция) — барокко дәуіріндегі италяндық суретші.
Biography
1604–1613 жылы Рим қаласында туылған. Кейіннен 1613 және 1622 жылдар аралығында ол Мантуя қаласында жұмыс істей бастаған, Алғашында Кардинал қамқорлығына, кейіннен Фердинандо I Гонзаганың қамқорлығына алынған. Палаццо Дукале жерінде ол Miracle of the Loaves and Fishes суретін салған болатын. Жаңа өсиеттің репрезентациясын ол өзінің қамқоршысының кабинетінде орындады. Соңында бұл жұмыс жеке мамандық тудырды.[1] and he and his studio often repeated his compositions.[2]
In August or September 1622,[3] his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles (epitomized by Palma the Younger and the successors of Tintoretto and Veronese). Into this mix, in the 1620s–30s, three "foreigners"—Fetti and his younger contemporaries Bernardo Strozzi and Jan Lys—breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to Caravaggio-influenced realism and monumentality.[4]
In Venice, where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalized painting style became more colorful. In addition, he devoted attention to smaller cabinet pieces that adapt genre imaging to religious stories. His group of paintings entitled Parables, which represent New Testament scenes, are at the Dresden Gemäldegalerie. He influenced Leonaert Bramer.
His painting style appears to have been influenced by Rubens. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 or 1624. Jan Lys, eight years younger, but who had arrived in Venice nearly contemporaneously, died during the plague of 1629–30. Subsequently, Fetti's style would influence the Venetians Pietro della Vecchia and Sebastiano Mazzone. His pupils in Mantua were Francesco Bernardi (il Bigolaro) and Dionisio Guerri.[5]
- ↑ Pamela Askew, "The Parable Paintings of Domenico Fetti." Art Bulletin 43 (1961:31–32], reprinted in Seventeenth Century Art in Italy, France and Spain (The Garland Library of the History of Art 8). New York, 1976.
- ↑ Some examples: The Good Samaritan, attributed to Fetti himself, ca 1618–22 (Metropolitan Museum of Art), repetitions by Fetti are in Boston and Dresden, as well as studio repetitions; Parable of the Mote and the Beam, attributed, ca 1619 (Metropolitan Museum); Parable of Lazarus and the Rich Man, workshop, ca 1618–1628 (National Gallery of Art, Washington DC).
- ↑ Askew 1978.
- ↑ See Alfred Moir, The Italian Followers of Caravaggio. 2 vols. (Harvard University Press) 1967.
- ↑ Le vite de' pittori, degli scultori, et architetti veronesi, by Bartolomeo Dal Pozzo (1718), page 169.