The J. Paul Getty Museum has acquired Danaë by Orazio Gentileschi, painted around 1621 in Rome. The museum now owns two works by Orazio, as Danaë joins Lot and his Daughters, part of the Getty’s collection since 1998. Read the press release here.
The statuesque subject of this painting, Anna, or Nanna, Risi was married to a cobbler in Rome when Sir Frederic Leighton painted this portrait of her. She would go on to become one of the most portrayed women of her time, modeling for numerous painters and sculptors, for whom she was the epitome of Roman beauty.
Augustus is bae has become a beloved mantra of mine while I’ve been working on this short paper on the Res Gestae. He’s been my bae since the first year of my undergrad and usually when i write about him I get all the As. (It might have something to do with him being the patron saint of west edmonton mall and the jubilee auditorium; he’s always watching over me.) I tried to give him flowers relevant to his patron Apollo (hyacinth, sunflowers, heliotrope, marigold) but they all turned out like blobs so imagine xD;
so here is a quick doodle of a kawaii Augustus hoping that you pass all your classes and don’t resort to adultery
my initiative to draw less trash and more classics
In 1600 Rome was the center of the artistic world. This fascinating book offers a new look at the art and architecture of the great Baroque city at this time of major innovation—especially in painting, largely owing to the presence of Annibale Carracci (1560–1609) and Caravaggio (1571–1610). Rome was a magnet for artists and architects from all over Europe; they came to study the remains of antiquity and the works of Michelangelo, Raphael, and Bramante. The sheer variety of artists working in the city ensured a diversity of styles and innovative cross-influences. Moreover, 1600 was a Jubilee year, offering numerous opportunities for artistic patronage, whether in major projects like St. Peter’s, or in lesser schemes such as the restoration of older churches. Clare Robertson examines these developments as well as the patronage of the pope and of major Roman families, drawing on a range of contemporary sources and images to reconstruct a snapshot of Rome at this thrilling time.
Pope Clement VIII, Santa Maria Maggiore, Rome
Annibale Carracci, Assumption of the Virgin, 1601, Cerasi Chapel, S. Maria del Popolo, Rome
Caravaggio, Crucifixion of St. Peter and Conversion of St. Paul, 1601, Cerasi Chapel, S. Maria del Popolo, Rome