 St. Luke Displaying a Painting of the Virgin byGuercino | |
| Named after | St. Luke |
|---|---|
| Formation | 1577 |
| Founded at | Rome |
| Type | Association of artists |
| Coordinates | 41°54′6″N12°29′1″E / 41.90167°N 12.48361°E /41.90167; 12.48361 |
| Leader | Federico Zuccari |
| Secessions | Accademia Nazionale di San Luca |
| Website | accademiasanluca |
Formerly called | Compagnia di San Luca |
TheAccademia di San Luca (English:Academy of Saint Luke) is an Italianacademy of artists in Rome. The establishment of theAccademia de i Pittori e Scultori di Roma was approved bypapal brief in 1577, and in 1593Federico Zuccari became its firstprincipe or director; thestatutes were ratified in 1607.[1]: 30 [2] Other founders includedGirolamo Muziano and Pietro Olivieri. The Academy was named forLuke the Evangelist, thepatron saint of painters.
From the late sixteenth century until it moved to its present location at the Palazzo Carpegna, it was based in an urban block by the Roman Forum and although these buildings no longer survive, the Academy church ofSanti Luca e Martina, does. Designed by the Baroque architect,Pietro da Cortona, its main façade overlooks the Forum.
The Academy's predecessor was theCompagnia di San Luca, a guild of painters andminiaturists, which met in the demolished church of S.Luca all'Esquilino, near the Basilica of S. Mary Major,[3] and whose statutes and privileges were renewed 17 December 1478 byPope Sixtus IV. Among the founding members was the famous painterMelozzo da Forlì, as he was thepictor papalis.[citation needed]
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Through the initiative ofGirolamo Muziano, who was both one of the leading artists in Rome and superintendent of works forPope Gregory XIII, the Pope granted the Academy official recognition in 1577. In 1588Pope Sixtus V gave the institution the ancient church ofS. Martina, which was rededicated as Santi Luca e Martina.[4]
In 1605, PopePaul V granted the Academy the right to pardon a condemned man on the feast of St. Luke.[3] As early as 1607, members were encouraged to increase their donations to the library.[5] In the 1620s,Urban VIII extended its rights to decide who was considered an artist in Rome, and in 1627 it came under the patronage of his nephew, CardinalFrancesco Barberini.[6]: 17 [7] Like many academies it was traditional to submit a self-portrait – the collection serving as a record of the institution's illustrious membership.[8] In 1633, Urban VIII gave it the right to tax all artists as well as art-dealers, and monopolize all public commissions. These latter measures raised strong opposition and apparently were poorly enforced.[6]: 17
At some after 1634, during the time whenPietro da Cortona wasprincipe, the accademia began to admit architects, who enjoyed the same status as painters and sculptors.[2] The Academy offered courses in painting, sculpture and architecture. Competitions open to artists and architects of all nationalities under 25 years old, theConcorsi Clementini, were held annually until 1721, when they became triennial. In 1763 these were supplemented by theConcorsi Balestra, and thereafter the two competitions alternated biennially.[9]
In 1845, the Academy expanded to thePalazzo Camerale on theVia di Ripetta in order to have the art students in one location. This later became theLiceo Artistico Ripetta.[10]
Artistic issues debated within the Academy included the Cortona-Sacchi controversy (seeAndrea Sacchi for further details of this debate) about the number of figures in a painting. Disdain was expressed by many academicians for theBamboccianti.[11]
Giovanni Bellori gave famous lectures on painting in the Academy. In the early 18th century, the painterMarco Benefial was inducted, and then expelled for criticizing the academy as an insider.[citation needed]
Due to the construction ofVia dell'Impero, the academy's historic headquarters on Via Bonella was demolished and in 1934 the institution moved toPalazzo Carpegna.[2]
The Academy is still active; theAccademia Nazionale di San Luca is its modern descendant. From the very beginning, the statutes of the Academy directed that each candidate-academician was to donate a work of his art in perpetual memory and, later, a portrait. Thus the Academy, in its current premises in the 16th-centuryPalazzo Carpegna, located in the Piazza dell'Accademia di San Luca, has accumulated a unique collection of paintings and sculptures, including about 500 portraits, as well as an outstanding collection of drawings.[2] The Academy also hosts exhibitions of the works of various artists.[12]
The Library of the National Academy of San Luca houses the Academic Library and the Sarti Roman Municipal Library, which together hold over 50,000 volumes regarding ipainting, sculpture and architecture.[5] Scholarships are periodically announced for research activities in academic archives or abroad.[2]
Prominent artists to becomePrincipe of the academy over the first 200 years include:
Claude Lorrain was a member but declined the offer of beingPrincipe.Sofonisba Anguissola andGirolama Parasole, although notPrincipi, were both honored by the inclusion of their portraits in the Academy's portrait collection. The portraits are dated 1564 and 1612, respectively, though the accuracy and meaning of the dates is not fully clear, and they were the first two portraits of woman artists to be added to the Academy's collection. It is not known which portrait was added to the collection first: both were originally noted in an inventory that occurred in 1633.[13] The Academy can also boast modern members, including sculptorsErnesto Biondi,Piccirilli Brothers, and architectAngelo Torricelli.[14]
