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Domenichino

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Italian painter (1581–1641)

Domenichino
Domenichino, in a portrait by an unknown artist
Born	Domenico Zampieri (1581-10-21)October 21, 1581 Bologna,Papal States
Died	April 6, 1641(1641-04-06) (aged 59) Naples,Kingdom of Naples
Nationality	Italian
Known for	Painting
Movement	Baroque

Domenico Zampieri (US:/ˌtsɑːmpiˈɛəri,ˌzɑːm-/,^[1]Italian:[doˈmeːnikoddzamˈpjɛːri]; October 21, 1581 – April 6, 1641), known by the diminutiveDomenichino (US:/doʊˌmeɪnɪˈkiːnoʊ,-ˌmɛn-/,^[1]^[2]Italian:[domeniˈkiːno]) after his shortness, was anItalian Baroque painter of theBolognese School of painters.

Life

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*The Way to Calvary*, Getty Center,c. 1610

*The Adoration of the Shepherds*,c. 1607–1610, oil on canvas, 143 x 115 cm, National Gallery of Scotland

Domenichino was born in Bologna, son of a shoemaker, and there initially studied underDenis Calvaert. After quarreling with Calvaert, he left to work in theAccademia degli Incamminati of the Carracci where, because of his small stature, he was nicknamed Domenichino, meaning "little Domenico" in Italian. He left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge fromAnnibale Carracci's supervision. As a young artist in Rome he lived with his slightly older Bolognese colleaguesAlbani andGuido Reni, and worked alongsideLanfranco, who later would become a chief rival.

In addition to assisting Annibale with completion of his frescoes in the Galleria Farnese, includingA Virgin with a Unicorn (c. 1604–05), he painted three of his own frescoes in the Loggia del Giardino of the Palazzo Farnese c. 1603–04. With the support of Monsignor Giovanni Battista Agucchi, themaggiordomo toCardinal Aldobrandini and laterGregory XV, and Giovanni's brother CardinalGirolamo Agucchi, Domenichino obtained further commissions in Rome. His most important project of the first decade was decoration of the Cappella dei Santissimi Fondatori in the medieval basilica of theAbbey of Grottaferrata (1608–1610), some 20 kilometers outside Rome, where Odoardo Farnese was the titular abbot. Meanwhile, he had completed frescoesc. 1604–05 in the church of Sant'Onofrio, feigned stucco decoration of 1606–07 in thePalazzo Mattei, a large scene ofThe Flagellation of St. Andrew at San Gregorio Magno, painted in competition with a fresco by Reni that faces it, and a ceiling withScenes from the Life of Diana, 1609, in the Villa Odescalchi at Bassano di Sutri (todayBassano Romano).

Following Annibale Carracci's death in 1609, the pupils who had followed Annibale's Roman style, including Domenichino and Francesco Albani, were not as successful at gaining the most prestigious commissions as Guido Reni. As Donald Posner stated in his influential thesis,The Roman Style of Annibale Carracci and His School, '...it should be stressed that the severe classicism of Annibale's late style had an immediate life in Rome of only about a lustrum [five years].'^[3] In turn, the Bolognese biographer Malvasia states that 'only Guido [Reni] was put ahead of everyone else, Guido alone proclaimed and well treated, while [Domenichino], on the contrary, was either not recognized or constantly mistreated in the fees he got, so that he was left without commissions and rejected. Therefore, he was forced to go begging for work, with much effort, through intermediaries, and at any price... the same had been true of theFlagellation of Saint Andrew, which had been painted for a hundred and fifty scudi, whereas in the case of theAdoration of the Cross on the opposite wall four hundred scudi had gone to Guido.'^[4]

One of Domenichino's masterpieces, his frescoes ofScenes of the Life of Saint Cecilia in the Polet Chapel ofSan Luigi dei Francesi, was commissioned in 1612 and completed in 1615. Concurrently he painted his first, and most celebrated, altarpiece,The Last Communion of St. Jerome for the church of San Girolamo della Carità (signed and dated, 1614). It subsequently would be judged as being comparable to Raphael's greatTransfiguration and even as "the best picture in the world."

Domenichino –*Landscape with Tobias*,c. 1610–1613

By late 1616, Domenichino had designed the coffered ceiling withThe Assumption of the Virgin in Santa Maria in Trastevere; and he had begun a cycle of ten frescoes depicting theLife of Apollo in a garden pavilion of the Villa Aldobrandini (Belvedere) in Frascati, where he was assisted by Giovanni Battista Viola, a Bolognese artist who, like Domenichino himself, was a pioneer in the development of classicistic landscape painting. From 1617 until 1621, Domenichino was absent from Rome, working in Bologna and at Fano, where during 1618–19 he frescoed the Nolfi chapel of the Fano Cathedral withScenes from the Life of the Virgin.

With the election of a Bolognese pope (Gregory XV) in 1621, Domenichino returned to Rome. Appointed Papal Architect (he built little but left drawings for various projects, most notably for the façade ofSant'Andrea della Valle and for the plan ofSant'Ignazio, both in Rome), he nonetheless continued to be most active as a painter, obtaining many commissions for altarpieces in Roman churches (San Lorenzo in Miranda, 1626–27, SS. Giovanni Evangelista e Petronio dei Bolognesi, 1626–1629, Santa Maria della Vittoria, 1629–30, and St. Peter's, 1625–1630). He also executed numerous frescoes in Rome during the 1620s: a ceiling in the Palazzo Costaguti (c. 1622); the choir and pendentives in Sant'Andrea della Valle, where he worked in fierce competition with Lanfranco, who painted the dome above Domenichino's pendentives; and the pendentives of San Silvestro al Quirinale (c. 1628) and San Carlo ai Catinari (1628–30).

In spite of his activity in Rome, Domenichino decided to leave the city in 1631 to take up the most prestigious, and very lucrative, commission in Naples, the decoration of theCappella del Tesoro di San Gennaro of theNaples Cathedral. HisScenes from the Life of San Gennaro occupied him for the rest of his life. He painted four large lunettes, four pendentives, and twelve scenes in the soffits of the arches, all in fresco, plus three large altarpieces in oil on copper. He died, perhaps by poison at the hands of the jealousCabal of Naples, before completing the fourth altarpiece or the cupola, which was subsequently frescoed by Lanfranco.

At the time of his death, Domenichino's chief assistant was an obscure painter from Assisi, Francesco Raspantino, who inherited his master's studio. Earlier, Domenichino's principal pupils were Alessandro Fortuna,Giovanni Battista Ruggieri,Antonio Alberti called Barbalonga,Francesco Cozza,Andrea Camassei, andGiovanni Angelo Canini. Others who studied in his studio includePoussin,Pietro Testa, and his future biographer,Giovanni Pietro Bellori.

Ideas on art

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*A Virgin with a Unicorn*,c. 1604–05, fresco in Palazzo Farnese, Rome, after a design by Annibale Carracci

Domenichino's work, developed principally from Raphael's and the Carracci's examples, mirrors the theoretical ideas of his friend Giovanni Battista Agucchi, with whom the painter collaborated on aTreatise on Painting. The portrait of Agucchi in York used to be attributed to Domenichino, but is now thought to be by Annibale Carracci, another friend.

It represents what would become known as classic-idealist art, which aims to surpass the imperfections of nature by developing an "Idea of Beauty" (idea del bello) through the study and imitation of the best examples of ancient and Renaissance art. Imitation in this sense is not copying but a creative process inspired by rhetorical theory whereby revered models are not only emulated but surpassed. One of the most famous incidents in the history of art that centered on concepts of Imitation arose when Lanfranco accused Domenichino of plagiarism, specifically of having stolen the design of his greatLast Communion of St. Jerome from an altarpiece of the same subject in Bologna by his former teacher, Agostino Carracci. To prove his point, Lanfranco circulated a print after Agostino's painting, prompting painters and critics to take sides, most of whom—includingPoussin and the antiquarian-critic-biographerBellori—strongly defended Domenichino's work as being praiseworthy imitation.

In addition to his interest in the theory of painting (he was well educated and bookish), Domenichino was devoted to music, not as a performer but to the invention of instruments suited to thestile moderno or to whatMonteverdi dubbed the "seconda pratica." Like Domenichino's paintings, its sources were in ancient models and aimed at clarity of expression capable of moving its audience. As the Florentine composerGiulio Caccini held and Domenichino surely believed, the aim of the composer/artist was to "move the passion of the mind." To achieve that goal, Domenichino paid particular attention to expressive gestures. Some 1750 drawings in the Royal Collection at Windsor Castle attest to the assiduous study underlying Domenichino's work—figural, architectural, decorative, landscape, even caricature—and to the painter's brilliance as a draftsman. InRoger de Piles'Balance of 1708, an effort to quantify and compare the greatness of painters in four categories (no artist ever achieved a score above 18 in any category), the French critic awarded Domenichino 17 points for drawing (dessein), 17 forexpression, 15 forcomposition, yet only 9 as a colorist. Domenichino's composite score of 58 nonetheless was surpassed only by Raphael and Rubens, and it equalled that of the Carracci.

Criticism from Ruskin

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TheBalance reflects Domenichino's high standing in the history of European taste— until John Ruskin in the 1840s wrote his devastating attacks on Bolognese Baroque painting in hisModern Painters. The Carracci and their followers were condemned by Ruskin as being "insincere". For Ruskin, there was no entirely sincere nor any great art from the seventeenth century and all was doubly damned as being "eclectic." Modern scholarship, led by Luigi Serra,John Pope-Hennessy,Evelina Borea andRichard Spear, who in 1982 published the first catalogue raisonné of all of Domenichino's paintings and preparatory drawings, has resurrected the artist from the Victorian graveyard and reestablished his place among the most important and influential painters of seventeenth-century Italy. In 1996 the first major exhibition of his work was held at thePalazzo Venezia in Rome.

Selected works

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Saint John the Evangelist, 1621–1629 (auctioned in London in December 2009 for more than £9.2 million, acquired by another buyer on condition that it be put on public display for three months every year).^[5]^[6]
The Virgin, Infant Jesus, and John the Baptist (The Madonna of Silence),c. 1605,Louvre Museum^[7]
A Virgin with a Unicorn,c. 1604–05, Farnese Gallery,Palazzo Farnese, Rome; fresco based on a design by Annibale Carracci
Abraham Leading Isaac to Sacrifice, 1602,Kimbell Art Museum, Ft. Worth^[8]
Landscape with Baptism of Christ (in collaboration with G. B. Viola?),c. 1603, Kunsthaus, Zurich [9]
Landscape with Flight into Egypt,c. 1605–06,Allen Memorial Art Museum,Oberlin College
Portrait of Cardinal Girolamo Agucchi,c. 1604–05,Uffizi, Florence^[10]
Landscape with fishermen, hunters and washerwomen,c. 1604–05,Ackland Art Museum, Chapel Hill^[11]
Landscape with Fording],c. 1604–05,Galleria Doria Pamphilj, Rome
Adoration of the Shepherdsc. 1607–1610
Flagellation of St. Andrew, 1609,San Gregorio Magno, Rome
The Ascension of St. Paul,c. 1606–1608, Louvre [12]
Scenes from the Life of Diana, 1609, Palazzo Giustiniani, now Odescalchi, Bassano di Sutri (Rome)
The 'Consecratio' of a Roman Emperor, 1634–1636,Prado Museum, Madrid
Landscape with Fortifications,c. 1634–35, Denis Mahon Collection, London [13]
Cumaean Sibyl,c. 1610,Pinacoteca Capitolina, Rome^[14]
Legends of SS. Nilus and Bartholomew, 1608–1610, Abbey ofGrottaferrata [1]Archived 2012-04-14 at theWayback Machine [2][3][4][5]Archived 2012-04-14 at theWayback Machine
A Triumphal Arch,c. 1609, Prado Museum, Madrid
Way to Calvary,c. 1610, J. Paul Getty Museum, Los Angeles [15]
Last Communion of St Jerome, 1614, Vatican Pinacoteca[6] and[7]
Scenes of the Life of Saint Cecilia, 1612–1615, frescoes,San Luigi dei Francesi,Rome
Landscape with St Jerome,c. 1610, Glasgow Art Gallery and Museum
Landscape with Sylvia and Satyrs,c. 1615–1620, Pinacoteca Nazionale di Bologna
Alexander and Timoclea,c. 1615, Louvre Museum
Truth Disclosed by Time (in collaboration with Agostino Tassi),c. 1622, fresco Palazzo Costaguti, Rome)
Cumaean Sibyl, 1616–17,Galleria Borghese, Rome
Madonna of the Rosary, 1617–1622/25 (Pinacoteca Nazionale di Bologna)
Archery Contest of Diana and her Nymphs,c. 1616–17,Galleria Borghese, Rome
The Virgin and Child with Saints John the Baptist and Petronius, 1626–1629,Pinacoteca di Brera, Milan (on deposit at the Galleria Nazionale d'Arte Antica, Rome)
Saint Agnes,c. 1620, Royal Collection, Hampton Court
Madonna of Loreto with Saints John the Baptist, Paterniano, and Anthony AbbotArchived 2012-04-14 at theWayback Machine,c. 1618–19,North Carolina Museum of Art)
Rinaldo and Armida,c. 1620–21, Louvre, Paris
Martyrdom of St Peter Martyr (after Titian),c. 1619–1621, Pinacoteca Nazionale di Bologna
Life of Apollo, 1616–18, frescoes, Stanza di Apollo, Villa Aldobrandini (Belvedere), Frascati (now mostly in the National Gallery, London)
The Four Evangelists andScenes from the Life of St. Andrew, 1622–1627, frescoes in the pendentives and choir of Sant'Andrea della Valle, RomeMatthew Mark Luke
Landscape with Hercules and Acheloüs,c. 1622–23, Louvre, Paris
Saint Ignatius de Loyola's Vision of Christ and God the Father,c. 1622, Los Angeles County Museum of Art
Landscape with The Flight to Egypt,c. 1623, Louvre, Paris
Landscape with Child overturning Wine,c. 1603–1605, Louvre, Paris
Rebuke of Adam and Eve, c, 1623–1625, Musée des Beax-Arts, Grenoble
An Allegory of Agriculture, Astronomy and Architecture,c. 1624–25,Galleria Sabauda, Turin
Rebuke of Adam and Eve, 1626, National Gallery Art, Washington D.C.
Martyrdom of St. Agnes,c. 1619–22/25, Pinacoteca Nazionale di Bologna
Death of Adonis,Apollo and Hyacinthus andNarcissus, frescoes, 1603–04, Palazzo Farnese, Rome
Martyrdom of St Sebastian, 1625–1630, St. Peter's, Rome (now Santa Maria degli Angeli, Rome)
Assumption of the Virgin, 1616–17, Santa Maria di Trastevere, Rome
Landscape with Erminia and the Shepherds,c. 1623–1625?, Louvre, Paris
Landscape with Hercules and Cacus,c. 1622–23,Louvre, Paris
Saint Cecilia with an Angel,c. 1617–18, Louvre, Paris
Sacrifice of Isaac,c. 1627–28, Prado Museum, Madrid
Scenes from the Life of San Gennaro, 1631–1641, frescoes, Cappella del Tesoro di San Gennaro, Cathedral of Naples
Landscape with Tobias laying hold of the Fish,c. 1610–1612, National Gallery, London
Mary Magdalene in Glory,c. 1620, Hermitage, St. Petersburg
Sibyl, XVII c.,M. Žilinskas Art Gallery,Kaunas,Lithuania
The Appearance of the Angels to St. Jerome,^[16] Prado Museum, Madrid.
The Head of the Baptist,^[17]Real Academia de Bellas Artes de San Fernando, Madrid.
St. John the Evangelist, c.1625-1628, Museum & Gallery, Inc. in Greenville, SC.

Works

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Portrait of Guido Reni, 1603–04
Last Communion of St. Jerome, 1614, Pinacoteca Vaticana
Guardian angel signed Domenico Zampieri called Doenichino dated 1615 after cleaning
Detail fromDiana and her Nymphs, 1616–17
Saint Cecilia Playing the Viol, 1618
River landscape with Boatmen and Fisherman, an elegant couple walking by the shore
Madonna and Child with St Petronius and St John the Evangelist
Apparition of the Virgin and Child and San Gennaro at the Miraculous Oil Lamp, 1637–38, Cathedral of Naples
The Rebuke of Adam and Eve, 1626,National Gallery of Art
The head of the Baptist. Real Academia de Bellas Artes de San Fernando, Madrid.
A Triumphal Arch, Prado Museum, Madrid.
Agnes of Rome with angels and a lamb

References

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Citations

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^^a ^b"Domenichino".Merriam-Webster.com Dictionary. Merriam-Webster. Retrieved24 August 2019.
^"Domenichino".The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved24 August 2019.
^Posner,The Roman Style of Annibale Carracci and His School (New York: 1962), p. 236.
^C. C. MalvasiaLives of Domenichino and Francesco Gessi E. Cropper, L. Pericolo (eds.) 2013, p. 65.
^Glyndebourne family to sell Old Master for £10 million, London Evening Standard, 9 Sept 2009
^'Saved' Domenichino painting loaned to National Gallery, Guardian, 18 May 2010
^"La Vierge et l'Enfant Jésus avec saint Jean, dit aussi Le Silence, ou encore Le Silence du Carrache".Louvre site des collections.
^"Abraham Leading Isaac to Sacrifice 1602".Kimbell Art Museum. Archived fromthe original on Dec 27, 2005.
^"Landschaft mit der Taufe Christi, um 1603".Kunsthaus Zürich. Archived fromthe original on Jul 27, 2006.
^"p08 g118".Artonline. Archived fromthe original on Oct 31, 2007.
^"66 18 1 view 2".Ackland Art Museum.
^"Le Ravissement de saint Paul".Louvre site des collections.
^"Paesaggio con fortificazioni".Artonline. Archived fromthe original on Nov 27, 2005.
^"The Cumaean Sibyl".artyzm.com. Archived fromthe original on Dec 18, 2005.
^"The Way to Calvary".Getty. Archived fromthe original on Jan 5, 2006.
^"Aparición de los ángeles a San Jerónimo – Colección – Museo Nacional del Prado".www.museodelprado.es. Retrieved2020-03-25.
^Fernando, Real Academia de BBAA de San."Zampieri, Domenico, Il Domenichino – La cabeza del Bautista".Academia Colecciones (in Spanish). Retrieved2020-03-25.

Bibliography

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Luigi Serra,Domenico Zampieri detto il Domenichino, Rome, 1909.
John Pope-Hennessy,The Drawings of Domenichino ... at Windsor Castle, London, 1948.
Richard E. Spear,Domenichino, 2 vols., New Haven and London, 1982.
Domenichino, 1581–1641, exh. cat. with entries on the paintings by Richard E. Spear, Rome, 1996.
Elizabeth Cropper,The Domenichino Affair. Novelty, Imitation, and Theft in Seventeenth-century Rome, New Haven and London, 2005

External links

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41 artworks by or after Domenichino at theArt UK site
Leigh Harrison Hunt (1913)."Domenichino" . In Herbermann, Charles (ed.).Catholic Encyclopedia. New York: Robert Appleton Company.
Rossetti, William Michael (1911)."Domenichino Zampieri" .Encyclopædia Britannica. Vol. 8 (11th ed.). pp. 397–398.
Brief biography at Web Gallery of Art
Domenico in the Louvre
Domenico at Ciudad de la pintura website
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Domenichino (see index)

v t e Domenichino
Paintings	A Virgin with a Unicorn (c. 1604–1605) Adoration of the Shepherds (c. 1607–1610) The Last Communion of Saint Jerome (1612–1614) Archery Contest of Diana and her Nymphs (1616) Cumaean Sibyl (1622) Saint John the Evangelist (c. 1621–1629)
Formerly attributed	Portrait of Monsignor Giovanni Battista Agucchi (1604) (now usually attributed toAnnibale Carracci)
Related	Bolognese School

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