Photo: NN and Joe Brown

Photo: NN and Joe Brown

Medieval fashion style window,

so far away,long time ago

just a capture from the "capture" brainstorm box....

Sant'Andrea della Valle is a minor basilica in the rione of Sant'Eustachio of the city of Rome. The basilica is the general seat for the religious order of the Theatines. It is located at Piazza Vidoni, 6 at the intersection of Corso Vittorio Emanuele II (facing facade) and Corso Rinascimento.

In the apse walls are three frescoes Crucifixion, Martyrdom and burial of Sant'Andrea by Mattia Preti (1650–1651), as commissioned by Donna Olimpia Maidalchini, sister-in-law of Pope Innocent X.

The fresco decoration of Sant'Andrea's dome was one of the largest commissions of its day. The work was disputed by two Carracci pupils, Giovanni Lanfranco and Domenichino. In 1608, Lanfranco had been chosen by Cardinal Alessandro, but the Ludovisi papacy of Pope Gregory XV favored the Bolognese Domenichino. In the end, both artists were employed, and Lanfranco's lavish dome decoration (completed 1627) set the model for such decorations for the following decades. This dome was for a long time the third largest dome in Rome, after the Basilica of St Peter and the Pantheon.

1382_34

Photo: NN and Joe Brown

Exclusive destination of "taste" where our discerning clients can find the traditional recipes of the Emilia Romagna’s cuisine in an atmosphere unparalleled in contact with masterpieces of Italian art.

This wonderful museum is among the highest expressions of the fifteenth-century painting and shows the wonderful frescoes of the school of the Carracci brothers.

The Chef, with a prestigious curriculum at major Restaurants, propose a traditional Bolognese menu flanked by innovative proposals

Photo: NN and Joe Brown

An eye after a study by Annibale Carracci, from the collection of the British Museum.

#30 of the 65 Masterpieces

Saw beautiful art by Raphael, Caravaggio, Bernini, Rubens, Titian, Carracci to name a few. All of those artists that I studied in my many art history classes....now being able to see them in person was unbelievable.

Photo: NN and Joe Brown

By Ludovico Carracci.

circa 1596-1599.

Detached fresco.

Bologna Civic Museum of Ancient Art.

Carracci, Dulwich Picture Gallery.

A Gourmet experience in the prestigious" I Carracci restaurant " one of the most elegant in the city for its warm and intimate atmosphere, housed in a magnificent hall of the '500, whose ceiling is entirely dedicated to the wonderful frescoes of the school of the Carracci brothers. Open to the public for lunch and dinner.

grandhotelmajestic.duetorrihotels.com/

Photo: NN and Joe Brown

RENI, Guido

(b. 1575, Calvenzano, d. 1642, Bologna)

Moses with the Tables of the Law

c. 1624

Oil on canvas, 173 x 134 cm

Galleria Borghese, Rome

At the beginning of the 17th century the followers of Caravaggio and Carracci vied with each other for predominance. Some sought a classical approach and a serene harmony of forms and colours, others were intent on humbly capturing simple everyday life set in a powerful contrast of light and shadow. But there was no hard and fast dividing line between them and even classical painters like Guido Reni in his Moses is influenced by Caravaggio's heroic dramatic style. This new humble yet monumental language became an international phenomenon.

--- Keywords: --------------

Author: RENI, Guido

Title: Moses with the Tables of the Law

Time-line: 1601-1650

School: Italian

Form: painting

Type: religious

Christ stands beside the whipping post with his head lowered. He emerges from the darkness, with light and shade modelling every muscle of his body. Resigned to his fate, he awaits the blows of the ruffians who have not yet begun their work. By presenting a close-up view of Christ the artist in a way places the viewer in the position of the executioner's henchmen. Guido Reni had trained initially in Bologna at the academy of the Carracci. He produced the Frankfurt painting soon after moving to Rome; it demonstrates Reni's recent study of the art of Caravaggio. The young painter followed the latter's striving to achieve the direct presence of the figure, but removes any drastic elements in favour of concentrating on the figure of the Son of God. The artist may have created this work for his Roman patron, Cardinal Paolo Emilio Sfondrati, a possibility suggested by the whipping post, which is an exact copy of the one revered to this day in the Basilica S. Prassede. Sfondrati was the protector of the associated monastery and belonged to the circles that showed an increased interest in the ancient relics of early Christianity.