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Topic: Giovanni Pietro Bellori

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	WHITFIELD FINE ART - Specialist Dealers in Old Master Paintings - Caravaggio, Carracci, Agostino Carracci, Alessandro ... (Site not responding. Last check: 2007-09-11)
		Bellori had been for twenty years the secretary of the antiquarian Francesco Angeloni and curator of his Musaeum on the Pincio, and Seicento discoveries in medicine were as important as those in astronomy.
		In that painting, Bellori is presented half-length, seated behind a table, and pointing to a passage of his Vite de Pittori Scoltori ed Architetti, where as in the present work the sitter is three-quarter length in a chair, similar to the pose of Pope Clement IX Rospigliosi in Maratta's portrait of 1669 (Pinacoteca Vaticana, Rome).
		Both Bellori and the sitter in the present painting wear similar gowns and stiff white collars and cuffs that are typical of the garb worn by lawyers, doctors and academics of the time, and both are set against indistinct backgrounds that act as a foil to the strongly lit and sensitively modelled heads.
	www.whitfieldfineart.com /pictures/maratta.htm (780 words)

	Barocci
		Bellori relates the rumor that jealous artists invited him to dine and then poisoned his salad, though this has never been substantiated.
		Bellori relates that Barocci’s first painting after his healing was The Virgin and Child with St. John (the Evangelist), which he donated as a votive offering for his recovery to the Capuchin fathers of the Crocicchia, two miles from his family farm.
		Giovanni Pietro Bellori, Le Vite de’ Pittori, Scultori e Architetti Moderni (Torino: Casa Editrice Einaudi, 1672, 1976.)184.
	www.utdallas.edu /~lisot/StJohn.htm (2412 words)

	Rome and Southern Italy, 1600-1800 A.D. \| Timeline of Art History \| The Metropolitan Museum of Art (Site not responding. Last check: 2007-09-11)
		Author and antiquarian Giovanni Pietro Bellori (1613–1696) delivers a lecture on L'idea del pittore, dello scultore e dell'architetto at the Accademia di San Luca in Rome, where the painter, draftsman, and graphic artist Carlo Maratti (1625–1713) is principal.
		In his lecture, Bellori expounds upon a classicist art theory; Maratti exemplifies this theory, as he asserts the importance of studying antique sculpture, life drawing, and the depiction only of that in nature which is beautiful.
		Giovanni Battista Gaulli (1639–1709), usually known as Il Baciccio, wins a commission to fresco the dome, the pendentives, and the nave and transept vaults of the Jesuit church of Il Gesù in Rome.
	www.metmuseum.org /toah/ht/09/eusts/ht09eusts.htm (3496 words)

	Review of editions of Baglione, Passeri, Pascoli, in Journal of the Society of Architectural Historians, 57, 1998 (Site not responding. Last check: 2007-09-11)
		Bellori when very young had been persuaded to write a poem "Alla pittura" for the front of Baglione's book, but he later regretted both the poem and the connection.
		Bellori is the founder of theoretical art history, the man who gave Panofsky the title for one of his first books, Idea.
		Bellori was nevertheless fascinated by the book that he despised and he kept reading it, leaving marginal notes, postille, in several copies.
	www.columbia.edu /~jc65/reviews/baglione.rev.htm (2944 words)

	Art on the line
		Pietro Santi Bartoli, an ardent frequenter of the 'schools of the tombs', preserved the mural designs in prints published in 1680 as Le pitture antiche del sepolcro de' Nasoni.
		Bartoli's prints of the tomb paintings were accompanied by a remarkable iconographical exegesis by Giovanni Pietro Bellori, in which he identified Ovid's portrait and elucidated the pictorial cycle's concern with the soul's journey after death.
		The similarities with Bellori's readings of picture cycles by Raphael, Annibale Carracci and Nicolas Poussin are discussed here, together with the theme of the tomb in his writings.
	www.waspjournals.com /journals/artontheline/journal_20031/articles/index.html (867 words)

	Book Review - 66.1 - Enrico (Site not responding. Last check: 2007-09-11)
		It began with a major 1956 exhibition in their native Bologna, followed by the 1968 translation by Catherine Enggass of Giovanni Pietro Bellori's 1672 The Lives of Annibale and Agostino Carracci (from Le Vite de' pittori, scultori et architetti moderni).
		Modern scholars, in fact, might find it useful to use Bellori's Lives, preceded perhaps by Giorgio Vasari's Vite de' piu' eccellenti pittori, scultori, ed architettori (1568), as an introduction to Malvasia's work, which was, at least in part, though unacknowledged as such, written as a rebuttal to it (26–27).
		This argument . . . plays itself out in two principal ways: the argument with Malvasia's contemporary and rival, the writer Giovanni Pietro Bellori, whose Roman perspective cast him as a continuer of Vasari, and Malvasia's plea for the equal stature of Ludovico with his cousin Annibale" (3).
	www.samla.org /sar/01wEnrico.html (864 words)

	Annibale Carracci, Degrazia 1 of 6 - NGA
		Annibale's epitaph praised his genius and the excellence of his art in all forms, indicating the importance of his contribution to the artistic life of contemporary Rome.
		Thus, Annibale came to be seen as Raphael reborn and as the guardian of the principles of tradition.
		According to Bellori, while Annibale and his father were on a journey from Cremona, they were attacked by highway robbers.
	www.nga.gov /exhibitions/car_degr1.htm (688 words)

	Bartoli - Book of the Month May 2000
		Pietro Santi Bartoli (1635-1700), the engraver and draughtsman, was probably engaged by Cardinal Camillo Massimo to produce a record of the frescoes adorning the walls of the tomb.
		Bellori and Bartoli, in common with other lovers of antiquity, saw their task of recording the remains of Roman civilisation as both creative and urgent: their mission was to preserve these fragments and traces before they were entirely destroyed by time or by inexpert excavation.
		Although Roman paintings are generally thought to be of lesser merit artistically than the greatest Greek works of art, certain paintings such as the Aldobrandini Wedding are considered to have a purity and nobility of conception and execution close to the Greek and the classicist ideal.
	special.lib.gla.ac.uk /exhibns/month/may2000.html (1454 words)

	ARTH381/581 - Readings
		Giovanni Pietro Bellori, ANNIBALE CARRACCI from Le Vite de' pittori, scultori ed architetti moderni, Rome, 1672.
		But because things on earth never remain in the same state and whatever attains the highest level is forced to fall back again through perpetual vicissitudes, art--which from Cimabue and Giotto had little by little advanced in the long course of 250 years--soon seemed to decline.
		Because the camerino, which was painted by him in the same palace, came in between, before he completed the gallery, we will discuss the camerino first so that, by describing the individual images, we will see and expose the morality of the program, which is most worthy.
	www.louisville.edu /a-s/finearts/VRC/buser381/Acarraccitext.html (6151 words)

	CRIBECU - Centro Ricerche Informatiche per i Beni Culturali (Site not responding. Last check: 2007-09-11)
		Pietro Bellori, con diligente cura e spesa ridotta a perfettione e data in luce da Gio.
		Pietro Bellori alla Santità di Nostro Signore Papa Innocenzo duodecimo, in Roma 1695
		Pietro Bellori, premessa a: Le Vite de' pittori scultori et architetti dal pontificato di Gregorio XIII del 1572 in fino a' tempi di Papa Urbano Ottavo nel 1642 scritte da Gio.
	www.cribecu.sns.it /corpus_belloriano/bellori.html (1339 words)

	Heald Books
		This series of remarkable images, part of one of the earliest published records of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until 1772 to 1776.
		Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace, he was commissioned by Leo X in 1517 to decorate the adjacent Logge.
		This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776.
	www.donaldheald.com /search/search_01.php?Author=RAPHAEL. (3156 words)

	Sotheby's Auctions, July 10, 2003. Annibale Carracci (1560–1609), ‘The Montalto Madonna’ . Estimate: ...
		The painting was already famous at the beginning of the 17th century: the biographer Giovanni Pietro Bellori speaks eloquently of it in his Vite of 1672, stating that it had been much copied; a remark supported by the existence of numerous versions today.
		Although by the time Bellori was writing the painting was in the collection of Lorenzo Salviati in Rome, it seems to have disappeared soon afterwards.
		It is only through careful study, with the aid of an 18th-century inventory number on the reverse of the picture, that the Old Master Paintings department at Sotheby’s has been able to reconstruct the painting’s history and provenance, uninterrupted from the 17th century until today.
	artrussia.ru /artnews.php?id=136&PHPSESSID=c1ce8d5c0c19fa07802409f45... (370 words)

	Notebook
		Although the Neo-Platonic beginning of his treatise and the terminology throughout have led certain critics to consider him a "Platonist,"[23] Bellori's theory was in a fundamental sense, as Panofsky has demonstrated, opposed to that of the Neo-Platonic critics of the preceding century.
		For the imitation of men better than ourselves, of life as it ought to be, in the pattern of an ideal tragedy, implies a highly discriminating selection of materials from the world of human character in action.
		For Bellori no more than Dolce considered the ancient statues objects of imitation in themselves, but found them significant only as glorious examples of the work of artists whose claim to the admiration of posterity is precisely that, selecting the best from nature, they imitated the Idea of the beautiful.
	www.noteaccess.com /Texts/Lee/1.htm (1197 words)

	BIBLIOGRAPHY ON THE RECOVERY OF THE ANTIQUE (Site not responding. Last check: 2007-09-11)
		Pietro Santi Bartoli, Memorie di varie escavazioni fatte in Roma, e nei luoghi suburbani vivente Pietro Santi Bartoli, 1682, in Carlo Fea, Miscellanea filologica critica e antiquaria, I, Rome, 1790, pp.
		Pietro Santi Bartoli, Gli antichi sepolcri, ovvero mausolei romani, ed etruschi, Rome, 1697.
		Giovanni Ciampini, Vetera Monimenta In quibus praecipuè Musiva Opera Sacrarum Profanarumque Aedium Structura Ac nonnulli antiqui Ritus, Dissertationibus, Iconibusque illustrantur, 2 vols., Rome, 1690-1699, bound with De sacris Aedificiis a Constantino Magno Constructis Synopsis Historica, Rome, 1693.
	www.columbia.edu /~jc65/antique/ANTIQUE.BIB.html (6293 words)

	Terms
		Bellori believed that art should follow the precedents of classical artists such as Raphael and Carracci.
		Caravaggio was seen by Bellori as a radical and bad influence for younger artists.
		Bellori's detailed accounts of these Baroque artists became a valuable source for art historians everywhere.
	chnm.gmu.edu /courses/ffolliott/arth344/terms.htm (4362 words)

	Art Bulletin, The: Piranesi, Juvarra, and the Triumphal Bridge tradition - Giovanni Piranesi, Filippo Juvarra
		(123.) Pietro Santa Bartoli, Roman Wall Painting Now Identified as a View of the Port of Pozzuoli, engraving, from Giovanni Pietro Bellori, In fragmenta vestigii veteris romae (Rome, 1673), and Pietro Sante or Francesco Bartoli, View of the Port of Pozzuoli, pencil, pen, and watercolor on yellow paper, 231/2 by 46 in.
		2, 654-55, who dates the original to the 3rd century C.E. Bellori's book was dedicated to Cardinal Camillo Massimi, and the prominence given to the engraving may signify that Massimi, a notable colllector of Roman paintings, commissioned the watercolor.
		On Massimi and Bellori, see Lisa Beaven, "Cardinal Carlo Camillo II Massimi (1620-1677): Patron and Collector in Seventeenth-Century Rome," Ph.D. diss., University of Melbourne, 2000.
	www.findarticles.com /p/articles/mi_m0422/is_2_85/ai_104208977/pg_16 (1120 words)

	Publisher description for Library of Congress control number 2001035675
		Giovan Pietro Bellori was one of the most important intellectuals of seventeenth-century Italy.
		Best known today for his art criticism and biographies of artists he knew personally, such as Nicholas Poussin, in his own day he was renowned for his expertise in coins, gems, and ancient painting.
		A frank, unbiased reevaluation of its subject, Art History in the Age of Bellori contributes to a more nuanced understanding of Bellori's place in seventeenth-century letters and politics, art criticism, and antiquarian studies.
	www.loc.gov /catdir/description/cam021/2001035675.html (177 words)

	Agostino Carracci - AMAM (Site not responding. Last check: 2007-09-11)
		Bellori [1672]: It is said that when Tintoretto saw the print of his Crucifixion...he was so pleased with it that he embraced Agostino.
		Since Agostino had just had a son in Venice, Tintoretto decided to make the ties between them closer and was the godfather to the child, who was Antonio Carracci.
		Giovanni Pietro Bellori, Le Vite de' pittori, scultori et architetti moderni (Rome, 1672).
	www.oberlin.edu /allenart/collection/carracci_agostino.html (1847 words)

	arte4
		Para explicar el sentido del arte, Bellori comienza explicando que el Universo se divide en dos áreas: una es la lunar, donde todo permanece perfecto, inmutable, cósmicamente inalterable; otra es la sublunar, que se caracteriza por la naturaleza decadente, deformada e imperfecta.
		Según Bellori, la misión del artista consiste en restaurar la perfección del mundo, o en otras palabras, restablecer el ideal y plasmarlo en el arte.
		Para Bellori es un error ser “demasiado natural”; en la representación, porque con ello se reproduce la decadencia del mundo.
	sepiensa.org.mx /contenidos/arte1/arte4/arte4.htm (339 words)

	Untitled Document (Site not responding. Last check: 2007-09-11)
		Giovanni Pietro Bellori, “Life of Annibale Carracci,” from Italy and Spain, 1600-1750: Sources and Documents, edited by Robert Enggass and Jonathan Brown (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1970), pp 72-75.
		For discussion: Bellori published a series of lives of the artists (on the model of Vasari) and other critical works.
		Giovanni Pietro Bellori, “Life of Caravaggio,” from Howard Hibbard, Caravaggio (New York: Harper and Row.
	www.chnm.gmu.edu /courses/ffolliott/arth344/reading.htm (1372 words)

	Pietro Aquila after a drawing by Carlo Maratti: Annibale Carracci Introduces Painting to Apollo and Minerva ... (Site not responding. Last check: 2007-09-11)
		Giovanni Pietro Bellori, the antiquarian and art critic who had organized the publication with de' Rossi and written the accompanying text, had recently published a series of artists' lives that also sought to promote Annibale as the ideal painter whose revival of the tradition of Raphael should be a model for all artists.
		Carlo Maratti, the successful painter and leader of the Roman Academy who designed this allegory, had been trained in the Carracci tradition, and wished to uphold that tradition in the face of other artistic trends prominent in Rome.
		The highly skilled Sicilian printmaker Pietro Aquila was a friend of Maratti and frequently collaborated with Bellori.
	www.themetmuseum.com /toah/hd/carr/hod_51.501.2593.htm (353 words)

	ARTH381/581 - Readings
		from Giovanni Pietro Bellori, "Vita di Antonio Vandyck d'Anversa Pittore," Le Vite de' Pittori, scultori et architetti moderni, Rome, 1672.
		And in truth, besides capturing a likeness, he gave the heads a certain nobility and conferred grace on their bearing, just as Apelles had painted Alexander and Antigone, his most famous works.
		His output and his fame were such that it was almost as if he had filled Flanders with his name, and he decided to move to London [by April, 1632], having been called to the service of King Charles.
	www.louisville.edu /a-s/finearts/VRC/buser381/vandyck.html (3064 words)

	Nicolas Poussin: Persuasive Essay Topics, Literature Essay, Argumentative Essay, Compare and Contrast Essay, Abortion ...
		Nicolas Poussin was born in 1594 in the town of Les Andelys on the Seine.
		He came from a nobel family that was ruined by religious wars according to Giovanni Pietro Bellori.
		No actual proof of this has been established his father Jean Poussin was said to have had some descent of the hierarchy.
	www.anyessay.com /showessay/biographies/1029.shtml (201 words)

	Manuscripts Catalogue - Document Details
		Watercolour drawings by Pietro Santi Bartoli after antique Roman paintings.
		32 (2001), pp 369-382, 461-473; L'idea del bello: viaggio per Roma nel seicento con Giovan Pietro Bellori, ed.
		This manuscript has been exhibited on the following occasions: 'Poet and painter: Allan Ramsay, father and son, 1684-1784', National Library of Scotland, Edinburgh, 1985; 'L'idea del bello: viaggio per Roma nel seicento con Giovan Pietro Bellori', Palazzo delle Esposizioni ed ex Teatro dei Dioscuri, Rome, 2000 (fol.
	special.lib.gla.ac.uk /manuscripts/search/detaild.cfm?DID=7328 (272 words)

	GIOVANNI PIETRO BELLORI : THE LIFE OF CARAVAGGIO--From Le Vite de' pittori, scultori ed architetti moderni
		GIOVANNI PIETRO BELLORI : THE LIFE OF CARAVAGGIO--From Le Vite de' pittori, scultori ed architetti moderni
		For the Church of S. Giovanni he had him paint the
		Beheading of St. John who has fallen to the ground while the executioner, as though he had not quite killed him with the blow of his sword, takes his knife from his side and grasps the saint by the hair in order to cut off his head.
	www.neiu.edu /~wbsieger/web/Art316/Caravaggio.htm (3078 words)

	Table of contents for Library of Congress control number 2001035675 (Site not responding. Last check: 2007-09-11)
		Bellori and Christina of Sweden Tomaso Montanari 4.
		Bellori, Raffele Fabretti, and Trajan's Column Ingo Herklotz 5.
		Bellori's analysis of colore in Domenichinos' Last Communion of St. Jerome Janis Bell 11.
	www.loc.gov /catdir/toc/cam025/2001035675.html (214 words)

	Michelangelo Merisi biography .ms (Site not responding. Last check: 2007-09-11)
		They outdid each other in imitating his works, undressing their models and raising their lights." —Giovanni Pietro Bellori, 1672.
		It would be hard to overestimate the impact that Caravaggio's innovations had upon painters of his generation and the generations that followed.
		A short list of artists who owe much to his stylistic breakthroughs would have to include Orazio Gentileschi and his daughter Artemisia, Georges de La Tour, Ribera.
	michelangelo-merisi.biography.ms (364 words)

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