Oil On Canvas, Real Flavor of Old Masters

All Rutilio Manetti 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
87877  
Die Verspottung Christi, Rutilio Manetti
  		 Die Verspottung Christi   Oil on canvas Dimensions 190.8 x 148.3 cm (75.1 x 58.4 in) cyf
28949  
Masinissa and Sophonisha, Rutilio Manetti
  		 Masinissa and Sophonisha   mk65 Oil on cavnas 66 1/8x104 5/16in Uffizi,
28948  
Rogero and Alcina, Rutilio Manetti
  		 Rogero and Alcina   mk65 Oil on canvas 70 11/16x80 1/2in Pitti
90226  
Virgin and Child with the Young Saint John the Baptist and Saint Catherine of Siena, Rutilio Manetti
  		 Virgin and Child with the Young Saint John the Baptist and Saint Catherine of Siena   c. 1608-1610 Medium oil on canvas Dimensions 101 x 75.3 cm (39.8 x 29.6 in) cjr
43737  
Wedding Feast at Cana, Rutilio Manetti
  		 Wedding Feast at Cana   c. 1620 Oil on canvas, 219 x 170 cm
Rutilio Manetti
Italian Baroque Era Painter , 1571 - 1639 was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. He is known to have collaborated with Raffaele Vanni, the son of Francesco. He is known for the following works in Siena or nearby towns: Story of St Catherine and Pope Gregory (1597; Palazzo Pubblico), Baptism of Christ (1600; San Giovannino in Pantaneto); a fresco cycle of the Story of St Roch (1605-1610; San Rocco alla Lupa), Pope Alexander I freed from prison by an Angel from San Giovanni Battista in Sant'Ansano in Greti; a Temptation of Saint Anthony (1620, Sant'Agostino), a Death of Blessed Antonino Patrizi (Monticiano, 1616), a Blessed Domenico dal Pozzo at the table now in Certosa of Florence, a Birth of Virgin (1625, Church of Santa Maria dei Servi), and a painting (1628, Church of San Domenico). He painted a remarkable Allegory of the four seasons and a Parable of the blind men, now in private collections. He also contributed to the Casino Mediceo His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 1600s.



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