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BADALOCCHIO, Sisto The Entombment of Christ hhh oil painting


The Entombment of Christ hhh
Painting ID::  4902
BADALOCCHIO, Sisto
The Entombment of Christ hhh
c. 1610 Oil on canvas Galleria Borghese, Rome

   
   
     

BADALOCCHIO, Sisto The Holy Family  145 oil painting


The Holy Family 145
Painting ID::  4903
BADALOCCHIO, Sisto
The Holy Family 145
c. 1610 Oil on panel, 81.3 x 57 cm Wadsworth Atheneum, Hartford

   
   
     

BADALOCCHIO, Sisto Susanna and the Elders  ggg oil painting


Susanna and the Elders ggg
Painting ID::  4904
BADALOCCHIO, Sisto
Susanna and the Elders ggg
c. 1609 Oil on canvas, 162,3 x 111,4 cm Ringling Museum of Art, Sarasota

   
   
     

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     BADALOCCHIO, Sisto
     Italian Baroque Era Painter, 1585-ca.1619 Italian painter and etcher. His formation as an artist took place within the Carracci circle. According to Malvasia, he may have attended the Carracci Academy in Bologna, before returning to Parma in 1600 as the pupil of Agostino Carracci when the latter entered the service of Ranuccio I Farnese, 4th Duke of Parma. After Agostino's death in 1602, Badalocchio and his fellow pupil Giovanni Lanfranco were sent by the Duke to Rome in order to complete their training in the studio of Annibale Carracci, who was then working in the Palazzo Farnese. Badalocchio remained with Annibale until the latter's death in 1609. He participated in most of the projects that occupied the studio assistants during those years, such as the frescoes on the walls of the Galleria in the Palazzo Farnese and those previously in the Herrera Chapel in S Maria di Monserrato, Rome (now detached and divided between Madrid, Prado, and Barcelona, Mus. A. Catalunya), although his precise share in them is still debated. His first signed works are etchings, one (1606) after the antique sculpture of the Laokoon (Rome, Vatican, Mus. Pio-Clementino) and 23 (1607, part of a series of 54 executed in collaboration with Lanfranco) after Raphael's frescoes in the Vatican Logge; they reveal the romanizing character of his training. Yet his independent paintings of this early period reveal the influence of Lanfranco, which was to last throughout his career; the lively play of light and shade suggests his allegiance to Emilian art.

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     | Largillierre | Per Wilhelm Cedergren | Alphonse Asselbergs |


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