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Luca Giordano. His Life and Work
The first systematic monograph on the work of Luca Giordano was published fifty years ago. Based on a catalogue of over a thousand paintings and three hundred drawings known at the time, it marked the beginning of renewed attention paid to the artist's work. A second edition, greatly enlarged, followed in 1992 and the increasing interest in Giordano culminated in the exhibitions organized by Nicola Spinosa, Alfonso Pérez Sánchez and Wolfgand Prohaska which were originally curated in Naples and travelled, in various formats, to Vienna, Los Angeles and Madrid. A third volume appeared in 2003 in order to assess and incorporate all the information obtained from the large number of new studies. Lastly, in 2012 Giuseppe De Vito and I published, as a special piece of research on seventeenth century neapolitan painting, a volume entitled 'Luca Giordano giovane' which focused on the work done by the painter between 1650 and 1664; several chapters of this volume have become, in a revised version, the first chapters of the text presented here: the book, which is targeted at a wider public, includes the results of the latest research and reinterprets the artist's personality and work.
Luca Giordano
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Luca Giordano
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Luca Giordano: Baroque Master Florence
- Entirely devoted to the masterpiece of Baroque art in Florence - Luca Giordano was one of the most appreciated artist in 17th century Italy and Europe - A number of paintings exhibited belong to the National Gallery, London Luca Giordano (Naples, 1634-1705) was one of Italy's most celebrated Baroque painters when he traveled to Florence, where his art was already appreciated and collected. He received many commissions, but certainly the most prestigious was that for the decoration of the vault of the new wing of Palazzo Medici Riccardi, the ancient house of Lorenzo the Magnificent which was then owned by the Marquis Francesco Riccardi. The Riccardi family was strictly connected to the Medicis and the decorative program of the great hall, known as Gallery of Mirrors, was centered upon the Apotheosis of the Medicis and several mythological scenes which illustrate the progress of humanity. The exhibition and its catalogue document this masterpiece through the ten painted sketches by Giordano (exhibited under the very frescoes) and circa 30 other paintings from his Florentine period (1682-1685) by the aptly named Luca "fa presto" (fare presto = to be fast).
Liberation & Deliverance
Exhibition catalogue on a single painting by Neopolitan painter Luca Giordano (Naples 1634-1705). Giordano first worked in the circle of Ribera, and his earliest works are a group of philosophers based on Ribera prototypes. Around 1652 he left Naples for the first time to study in Rome, Florence, and Venice. In this latter city, he attracted his first commissions - altarpieces for various churches. By the next year he had returned to Naples with a basis for his personal style. Onto his Riberesque formation, Giordano grafted elements derived from many traditions - the great sixteenth century Venetians (particularly Titian), Rubens and van Dyck, the High Baroque art of Rome (particularly of Cortona but also Maratta), and contemporary developments in Naples, such as the painting of Preti.0Exhibition: Matthiesen Gallery, London, UK.
Inventing Falsehood, Making Truth
How the philosophy of Giambattista Vico was influenced by eighteenth-century Neopolitan painting Can painting transform philosophy? In Inventing Falsehood, Making Truth, Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy. Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early...
