贝尔纳多 · 卡瓦利诺Cavallino, Bernardo(1616年—1656年),意大利画家、制图员
出生在那不勒斯,他被认为已经死亡瘟疫1656年流行。对他的背景或培训。八十年的绘画,不到十签署。他曾通过私人交易商和收藏者的记录不再可用。
圣母玛利亚
据说他的训练马西莫Stanzione,和画家安德里亚瓦卡罗,影响安东尼·范·戴克,但他的画也可以被描述为等距卡拉瓦乔和Bartolome Esteban Murillo在风格;暗色调主义上空弥漫着一个戏剧性的甜味,带来狂喜,感觉高罗马巴洛克雕塑的特征。大家都知道他曾在那不勒斯圈Stanzione强烈影响,其中包括安东尼奥·德·贝利斯,艾Gentileschi,弗朗西斯科·Francanzano,阿戈斯蒂诺•Beltrano和弗朗西斯科·Guarino.
Cavallino的大部分作品的规模内阁的绘画,他不知道执行任何大型装饰。艺术历史学家安珀西将他描述为“最个人和最诗意的画家活跃在那不勒斯上半年17世纪……团结精化和技艺精湛的绘画带有强烈的自然观察的表面,和复杂的面板和戏剧性的作品一个非凡的才华。”他的杰作之一是滚滚无产阶级的圣母玛利亚布雷拉美术馆在米兰。被动在旋转,肌肉丘比特、那不勒斯姑娘精致从雾中,天主教巴洛克相当于一个更新波提切利金星。他的圣塞西莉亚的狂喜存在既是卡通(博物馆di Capodimonte那不勒斯)和最后的副本维琪佛罗伦萨。最后,他以斯帖,亚哈随鲁挂在乌菲兹美术馆.
Born in Naples, he is thought to have died during the plague epidemic in 1656. Little is known about his background or training. Of eighty attributed paintings, less than ten are signed. He worked through private dealers and collectors whose records are no longer available.
It is said that he trained with Massimo Stanzione, befriended the painter Andrea Vaccaro, and was influenced by Anthony van Dyck, but his paintings could also be described as equidistant from Caravaggio and Bartolomé Esteban Murillo in styles; tenebrism enveloped with a theatrical sweetness, a posed ecstasy and feeling characteristic of the high Roman baroque statuary. He is known to have worked in Neapolitan circles strongly influenced by Stanzione, which included Antonio de Bellis, Artemisia Gentileschi, Francesco Francanzano, Agostino Beltrano and Francesco Guarino.
Most of Cavallino's works are on the scale of cabinet paintings, and he is not known to have executed any large decorations. The art historian Ann Percy describes him as "the most individual and most poetic painter active in Naples during the first half of the 17th century ... uniting a refinement and virtuosity of brushwork with an intensely naturalistic observation of surfaces, and complex and dramatic compositions with an extraordinary brilliance of palette."One of his masterpieces is the billowing proletarian Blessed Virgin at the Brera Gallery in Milan. Passive amid the swirling, muscular putti, this Neapolitan signorina delicately rises from the fog, the updated Catholic baroque equivalent of a Botticelli's Venus. His The Ecstasy of St Cecilia exists both as cartoon (Museo di Capodimonte, Naples)[2] and final copy in the Palazzo Vecchio of Florence. Finally, his Esther and Ahasuerus hangs in theUffizi Gallery.
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