早期的生活和训练

出生在那不勒斯佐丹奴,佐丹是画家的儿子安东尼奥。1650年左右他的学徒Ribera推荐的那不勒斯的总督和他的早期作品深受他的老师。像Ribera,他画了许多半身的人物的哲学家,虚构的具体数字的画像,或泛型类型。

他获得了绰号卢卡fa转眼间,迅速转化为“卢卡油漆。“他的速度,在设计以及手工,和他的多功能性,使他模仿其他画家迷惑,为他赢得了另外两个绰号,“雷电”(爆炸)和“变形”的绘画。

在罗马学习一段时间后,帕尔玛和威尼斯,威尼斯和罗马佐丹奴开发了一个精致的巴洛克风格融合的影响。他成熟的作品结合了装饰性的盛况保罗维罗纳人与生动复杂的计划,“大方式”的彼得罗达Cortona。他也指出明快艳丽的色彩的使用。

弗洛伦斯

在1682 - 1683年佐丹奴画各种壁画系列弗洛伦斯,其中包括Corsini教堂的圆顶基del胭脂。在大块占领前美第奇宫,他画的天花板Biblioteca Riccardiana(神的智慧的寓言)和长期的画廊宫殿Medici-Riccardi。后者的巨大壁画被包含在1670年代画廊,俯瞰着花园。计划是由亚历山德罗Segni和委托弗朗西斯科·Riccardi。它们包括被理想化的庆祝活动的中心,美第奇家族被一系列的联锁叙述:寓言人物(基本道德,大自然的元素)和神话集(海王星和Amphitrita普洛塞尔皮娜的强奸,酒神巴克斯的凯旋游行,阿多尼斯的死亡,谷神星和特里普托勒摩斯)。

宫廷画师在西班牙(1692 - 1702)

1692年佐丹奴前往西班牙的邀请查理二世。他在那里呆了十年,在1702年回到那不勒斯,查理的死亡。而在西班牙,他画主要的装饰方案早上好今天宫,El堆渣场的sacristry托莱多大教堂和其他网站。他还画了很多幅画的法院,私人顾客和教堂。^[6]他的学生,Aniello罗西和马特奥Pacelli在西班牙,协助他。佐丹奴是受欢迎的在西班牙法院,国王授予他一个“绅士”的称号。

后期工作在那不勒斯

1702年他提前返回那不勒斯后,佐丹奴继续画的作品。^[6]执行在一个更轻、更少的修辞风格,这些后期作品,预示洛可可,证明整个18世纪,影响力和被欣赏福拉哥纳尔.

他花了大笔的宽宏大量,尤其自由穷艺术家。他的格言是,好的画家之一是公众喜欢,和公众吸引了更多的颜色比设计。

佐丹奴有惊人的设施,这常常导致肤浅的印象他的作品。他在罗马,让许多的作品,更在那不勒斯。后者,他的基督驱逐的交易员寺庙的教会Padri Girolamini,一个巨大的工作,充满表现力的“lazzaroni”或从那不勒斯乞丐;也朱迪丝的胜利的壁画圣马蒂诺[1]和那些豪华德拉Tesoro Certosa,包括摩西的主题和厚颜无耻的蛇;和圆顶绘画的教堂圣诞老人Brigida走。这个教堂包含艺术家自己的坟墓。其他值得注意的例子是在柏林博物馆,巴黎的判断和基督同医生在殿里Corsini画廊罗马的。在以后的岁月中,他画清唱Corsini影响力的壁画,Palazzo Medici-Riccardi和其他工作。

佐丹奴在那不勒斯在1705年去世。

影响

他的画是最好的学生保罗·德·加尼姆。然而,他的影响力,比如旅行和事业,是广泛和多产。例如,据说他在威尼斯的影响,Giovan巴蒂斯塔Langetti,乔凡尼杆菌,菲利波Gherardi.^[7]其他学生包括胡安·安东尼奥·Boujas,Nunzio Ferraiuoli(Nunzio degli Afflitti),安塞尔Fiammingo(il Franceschitto或Francesquitto),Giovanni Battista喇嘛,安德里亚Miglionico,朱塞佩Simonelli,安德里亚Vicenti,安德里亚Viso,费Amendola,佩德罗·德·卡拉布里亚,马特奥Pacelli,旧金山Tramulles,尼科洛玛丽亚罗西,Aniello罗西.

作为一个年轻人,佐丹奴雕刻与可观的技能,包括他自己的一些作品,如巴力的祭司的屠杀。他还画的水晶接壤的镜子,橱柜和其他许多意大利宫殿,和,在这种形式的艺术大师Pietro Garofalo.

关键的声誉

佐丹奴被批评是一个多产的交易员的风格,而不精。迈克尔·利维评论他的“佐丹奴是理想的洛可可画家,快速,高产,令人眼花缭乱的颜色,保证在制图术,ever-talented,从未接触的边缘天才。”他被视为一个原始Tiepolo,提高大Cortona方式在风格与Tiepolo照亮。

Early life and training

Born in zodanu, Naples, zodanu is the painter's son Antonio. Around 1650 his apprentice Ribera recommended the governor of Naples and his early works to his teachers. Like Ribera, he painted many half length characters of philosophers, fictional portraits of specific numbers, or generic types.

He got the nickname Luca FA in a flash and quickly converted it into "Luca paint.". "His speed, in design as well as his handiwork, and his versatility, bewildered him by imitating other painters, earned him two other nicknames," lightning "(explosion) and" transfiguration "paintings.

After studying in Rome for some time, Parma and Venice, Venice and Roman Giordano developed an exquisite baroque style blending influence. His mature works combine the decorative pomp of Paul Verona with the vivid and complex plans of the "big way" of petroda Cortona. He also pointed out the use of bright colors.

Florence

In 1682 - 1683, Giordano painted a series of frescoes from Florence, including cordini's domed base del rouge. In the former palace of Medici, he painted the ceiling of Biblioteca riccardiana (fable of God's wisdom) and the long-term Gallery palace Medici riccardi. The latter's huge murals are contained in the 1670s Gallery, overlooking the garden. The project was commissioned by Alessandro segni and Francisco riccardi. They include the idealized celebration of the center of the Medici family by a series of interlocking narratives: Allegorical characters (basic morality, elements of nature) and mythology sets (rape of Neptune and amphitrita proselpina, triumphal march of Bacchus, death of Adonis, Ceres and tripptolemos).

In 1692, Giordano invited Charles II to Spain. He stayed there for ten years and returned to Naples in 1702, where Charlie died. While in Spain, he painted the main decoration scheme good morning today palace, sacrary Toledo cathedral and other websites in El dump. He also painted many pictures of the court, private customers and church. [6] his students, aniello Rossi and Matteo Pacelli, are in Spain, helping him. Giordano was popular in Spanish courts, and the king granted him a "gentleman" title.

Later work in Naples

After his early return to Naples in 1702, Giordano continued to paint. [6] execution in a lighter, less rhetorical style, these later works, heralding Rococo, proved throughout the 18th century, influential and appreciated by Fragonard

He spent a lot of magnanimity, especially free and poor artists. His maxim is that one of the good painters is the public like, and the public attracts more colors than design.

Giordano has amazing facilities, which often leads to superficial impressions of his works. He was in Rome, making many works, even more in Naples. The latter, his Christ banished trader from the temple of church padri girolamini, a huge work full of expressive "lazzaroni" or beggars from Naples; also Judith's victory mural of St. Martino [1] and those luxurious della Tesoro Certosa, including the theme of Moses and the brazen snake; and the dome painted Church of Santa Claus brigida go. The church contains the artist's own tomb. Other notable examples are in the Berlin Museum, the judgment of Paris and the Roman Corsini Gallery of Christ with the doctor in the temple. In later years, he painted frescoes of Corsini's influence, Palazzo Medici riccardi and other works.

Giordano died in Naples in 1705.

Influence

His painting is Paul de Ganim, the best student. However, his influence, such as travel and career, is extensive and productive. For example, it is said that his influence in Venice, Giovanni Batista langetti, Giovanni, Filippo Gherardi. [7] other students include Juan Antonio boujas, Nunzio ferraiuoli (Nunzio degli afflitti), Ansel fiammingo (IL franceschito or francesquito), Giovanni Battista Lama, Andrea Miglionico, Giuseppe Simonelli, Andrea vicenti, Andrea VISO, Fiso Amerdola, Pedro de Calabria, Matteo Pacelli, tramulles, San Francisco, Nicolo Maria Rossi, aniello Rossi

As a young man, zodanu carved with considerable skill, including some of his own works, such as the priest's massacre of Baal. He also painted crystal bordered mirrors, cabinets and many other Italian palaces, and, in this form, the art master Pietro Garofalo

Key reputation

Mr. Giordano has been criticized for being a prolific trader, not an expert. Michael levy commented on his "Giordano is the ideal Rococo painter, fast, productive, dazzling color, guaranteed in cartography, ever talented, never touched edge genius." He is seen as a primitive Tiepolo, enhancing the way the large Cortona is illuminated in style with Tiepolo.