Federico Barocci

Federico Barocci Federico Barocci or, actually Federico Fiori, also called "Fiori da Urbino " (* 1526/1535 in Urbino, † 1612 ) was an Italian painter, draftsman and printmaker between Mannerism and Baroque.

Education and early works

He received his first training in the workshop of his father Ambrogio di Federico Barocci, one originating from Milan sculptor and grandson of the famous Milanese sculptor Ambrogio da Milano. Then he gained at Battista Franco, called Semolei (1498-1561) picturesque basic knowledge. He then worked with his uncle, the architect Bartolomeo Genga (1518-1558) in Pesaro, which introduced him to the problems of geometry and perspective.

Cardinal Giulio della Rovere (1533-1578), brother of the Duke of Urbino, Guibaldo II della Rovere, took Barocci 1548 to Rome, where he could devote himself to the study of the works of Raphael and Correggio. After a few years Barocci returned to Urbino, where he executed numerous works, the 1557 created for the cathedral of Urbino painting " St. Cecilia " and the " Martyrdom of St.. Sebastian ", which still clearly reflect the influence of Correggio.

The mean period of creativity

In 1560 he was back in Rome, where he has been proven in the workshop of the brothers Taddeo and Federico Zuccari, the second half of the 16th century were the main representatives of Mannerism in Rome. 1560 he painted together with Federico Zuccari on behalf of Pope Pius IV in the newly built casino and Belvedere in the Vatican Gardens frescoes. The painted by him "four virtues" show his extraordinary talent that highlights him from the fullness of time, the same Roman painter.

In the course of this work he became seriously ill. Giovanni Pietro Bellori based Barocci's suspicion that he was poisoned by colleagues who envied him his talent. Weakened by disease originated only a few reports in the coming years. 1563 or 64, he returned to Urbino and enjoyed, thanks also to his ducal patrons, a high reputation, although his health was frail, and his nature was described by his contemporaries as a morose and hypochondriacal. Barocci received numerous commissions from ecclesiastical and secular dignitaries to paint churches and devotional images.

All attempts this time by the Spanish king, the Duke of Tuscany or the Emperor Rudolf II to bring him to her court, Barocci issued a denial: the rest of his life he remained in Urbino and here developed his own distinctive style of painting. Assigned to this middle period are located in the Museum of Urbino Albani images " Beata Michelina " and " Madonna del Gatto ", since the echoes of Correggio are not too clear. The latter being only a custom built by Carlo Roncalli copy while the original of the " Madonna del gatto " is in the National Gallery in London.

The heyday

The Collegio della Mercanzia ordered from Perugia ( 1567-68 ) for their chapel in the cathedral of Perugia in Barocci a " cross", handed in the the artist in 1569. This file depicts an early peak of his creative and lets in composition, already thinking of color to the baroque painting of Rubens and Van Dyck.

His painting " Rest on the Flight " of 1570 /75, the Pinacoteca Vaticana ( Rome) is intended as a devotional or as an object for collectors because of its small dimensions. Mild colors and a clear sfumato point out that Barocci to each of his paintings precede detail executed pastel designs, whose smooth transitions he used as a model for his paintings, and so made ​​him a founder of an independent pastel painting.

His main works in the later period of creativity include the " Madonna del Popolo " ( 1579), the copied much " Entombment " (1582 ) and two representations of the Last Supper ( 1592-99 and 1604-07 ).

Assessment

Barocci took his time in a special position, by which could overcome the academic style of Mannerism and simultaneously announced the Baroque with its images in composition and color. Although he spent the last forty years of his life exclusively in Urbino, and although most of the cultural creativity of Rome concentrated, Barocci painting had a decisive influence on the development of painting in 1600 in Italy and beyond, also because he faithfully the provisions of the Tridentine Council of sacred art in his paintings transposed artistically. Especially in his later works are showing increasing trends of spirituality and contemplation.

Barocci had, just to name a number of students and staff, among them Antonio Cimatori, Giovanni Laurentini, Vincenzo Pellegrini, Alessandro Vitali and Antonio Viani few.

Painting (selection)

  • Museo Albani ( Urbino): Martyrdom of S. Sebastian ( 1557)
  • Galleria Nazionale delle Marche ( Urbino): Madonna di San Simone
  • Vatican Museum, Pinacoteca Vaticana: Rest on the Flight into Egypt ( 1570)
  • Chiesa di San Francesco ( Urbino ): The Vision of St Francis of Assisi
  • Uffizi Gallery (Florence): Madonna del Popolo (1575 /79)
  • Duomo San Lorenzo ( Perugia): Descent from the Cross ( 1579)
  • Uffizi Gallery (Florence): Portrait of the Duke Francesco II della Rovere ( 1572)
  • Church of Santa Croce ( Senigallia ): Burial ( 1580/81 )
  • Alte Pinakothek (Munich): Noli me tangere (1590)
  • Church of Santa Maria degli Angeli ( Perugina ): Annunciation ( 1592/96 )
  • Church of Santa Maria Sopra Minerva ( Rome): Last Supper (1594 )
  • Museo del Prado (Madrid ): Birth of Christ (1597 )
  • Galleria Borghese ( Rome): St. Jerome and escape of Aeneas from Troy ( 1598 )
  • National Gallery (London ): Madonna della Gatta
  • Residence Gallery Salzburg: Self-Portrait
  • Santa Maria in Vallicella ( Rome): Presentation of Mary in the Temple and Visitation

Exhibitions

  • 2013 Barocci. Brilliance and Grace, National Gallery (London ), London, catalog
Taddeo Zuccari Peter Paul Rubens Anthony van Dyck Council of Trent Villa Borghese gardens Integrated Authority File
105484
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