Saint Francis by Guercino dated 1623
Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), better known as "il Guercino", was an Italian Baroque painter and draftsman from Cento in the Emilia region, who was active in Rome and Bologna. The vigorous naturalism of his early manner contrasts with the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.
Giovanni Francesco Barbieri was born into a family of peasant farmers in Cento, a town in the Po Valley mid-way between Bologna and Ferrara. Being cross-eyed, at an early age he acquired the nickname by which he is universally known, Guercino (a diminutive of the Italian noun guercio, meaning 'squinter'). Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School.
In Bologna, he was winning the praise of Ludovico Carracci. He always acknowledged that his early style had been influenced by study of a Madonna painted by Ludovico Carracci for the Capuchin church in Cento, affectionately known as "La Carraccina.
Guercino was remarkable for the extreme rapidity of his executions: he completed no fewer than 106 large altarpieces for churches, and his other paintings amount to about 144. He was also a prolific draftsman. His production includes many drawings, usually in ink, washed ink, or red chalk. Most of them were made as preparatory studies for his paintings, but he also drew landscapes, genre subjects, and caricatures for his own enjoyment. Guercino's drawings are known for their fluent style in which "rapid, calligraphic pen strokes combined with dots, dashes, and parallel hatching lines describe the forms".
Despite presumably having monocular vision due to a 'lazy' right eye, Guercino showed remarkable facility to imply depth in his works, perhaps assisted by an enhanced perception of light and shade thanks to compensation by the healthy eye. Other artists with different types of strabismus include Rembrandt, Dürer, Degas, Picasso and (possibly) Leonardo da Vinci.
His lively treatment of the Aurora myth (1621, Villa Aurora, Rome, Italy), painted for the pope's nephew, Cardinal Ludovico Ludovisi. challenges the more measured representation of the same subject painted by Guido Reni at Palazzo Rospigliosi on behalf of a Ludovisi family rival and makes a statement of political triumph. Some of his later works are closer to the style of Reni, and are painted with much greater luminosity and clarity than his early works with their prominent use of chiaroscuro.
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