Italian painter who lived between 1771 and 1844 and produced works in the Neoclassical style. The son of Giovanni Battista and Teresa Rotti, a coal merchant from a Ligurian family, with the encouragement and financial support of his older brother Pietro, he began his painting education in the studio of S. Luca's respected teacher and academician, D. Corvi. Open to the dramatic influences of contrasts of light and shadow, of his distant Caravaggesque ancestors, Corvi nevertheless conformed to the classical solutions proposed to eighteenth-century Roman painting by the supreme authority of Pompeo Batoni. He conveyed to the students everything that was not dogmatic, the typical ways of this academicism, as demonstrated by the different results of Landi and Cades, co-disciples of Camuccini. In any case, foreign to eighteenth-century nostalgia as well as to pre-romantic moods, he unhesitatingly took the path of classicism and hardened his culture not so much in the examples of Batoni, but in the systematic study of antiquity and the sixteenth century.
From the following years, a large group of watercolor ink sketches (Cantalupo, Camuccini collection) and some sketches (ibid.; National Gallery of Modern Art, Rome; National Gallery of Naples, Capodimonte).
Vincenzo Camuccini's The Death of Virginia (1804) and The Death of Caesar (1807) would garner public admiration and make him the hero of official painting in Rome.
Two large, faded, over-polished compositions on display today in the National Gallery of Capodimonte in Naples tell us little; Otherwise interesting are sketches and even more drawings that are quick and lively in the oversimplification of forms. The "first ideas" that make clear the painter's deep cultural roots in 17th-century Roman classicism: perspective since Raphael is not direct, but through Domenichino and the more violent Poussin, just as Guido Reni suggested the dynamic balance of groups. Strongly struck by obliquely projected lights and shadows, transforming the still perceptible echo of Caravaggesque naturalism throughout much of the early eighteenth century into a theatrical spectacle.
The result is an assertive desire for dignity, of classical rigor, which does not become (as in David Marat) an eloquent expression of passionate ideological devotion, just as the fantastical restlessness of pre-Romantic chiaroscuro does not touch it.
Having a personal relationship with Camuccini, Monti left Rome during the 1798 revolution; even the painter temporarily moved away, and perhaps on the advice of his friend P. Benvenuti, he went to Florence to complete his own culture, where he met Luigi Sabatelli. Thus, the circle of very close relations and exchange of experience outlined earlier by the friendship between Camuccini, Bossi and Appiani was completed. After the storm, Camuccini returned to his country. Camuccini was now the undisputed dictator of Roman painting. His religious paintings show him faithful to the light and shadow effects of his master, Corvi. (Presentation in the Temple, 1806) The artist also looks brilliant, if not a deep observer, in the numerous magnificent portraits of the most important characters in society and culture. (Thorvaldsen, 1808),
In 1810 he visited Munich and Paris. He painted a portrait of Maria Luisa di Borbone (Pitti) and likewise Gracchi's mother Cornelia (Lucca, Pal. Ducale); The Tales of Attilio Regolo was followed for the Capeletti house in Rome. Furio Camillo of the royal palace of Genoa; For the Baglioni house in Perugia, Malatesta Baglioni IV's entry into Perugia in 1812 and Astorre II Baglioni reclaimed a flag.
Vincenzo Camuccini Style
In 1812-13, Vincenzo Camuccini, together with G. Landi, were among the artists chosen by A. Stern for his friend's renovation. While the same scholastic composure, in a grateful eclecticism to illustrious patrons, marked classical subjects and those taken from more recent history, the shadow of the sacred paintings grew heavier as the years passed (Giuditta, 1812), was appointed inspector for the preservation of public paintings in Rome in 1814, and until 1824 (Corbo) "with admirable seriousness".
King Ferdinand I of Naples posed for Vincenzo Camuccini. He painted portraits of the King of Naples and the queen of Naples. Francis I ascended the throne in 1825 and appointed Camuccini as director of the Accad. Neapolitan went to Rome and commissioned him to reorganize the Gallery of Naples.
As soon as Pope Pius VII was elected, he requested a portrait of Vincenzo Camuccini (1829, Cesena, Pinacoteca), whom he had appointed baron, and entrusted him with the reorganization of the Vatican Pinacoteca the following year. Here the painter carried, among other things, Platina from the SS basilica by Melozzo da Forli, kneeling before Sixtus IV. Apostol, p. Pietro di Guido Reni and the Congregation p. JeromeDomenichino (replacing the last two with copies of his own hands on the altars at S. Pietro and S. Girolamo alla Carità in Montorio). Meanwhile, he provided the church of the same name in Naples (1830-35; still in place) a Miracle of S. Francesco da Paola, a S. Agostino and a S. Gregorio, S. Nicola di Catania (1833). The lunet of St. Paul ascended to the third heaven on the apse of the reconstructed Ostiense Basilica (1840). Apart from these, he also painted the Order of Psyche and the ceiling of Torlonia Palace with Landi as frescoes.
Vincenzo Camuccini Famous Works, Paintings
Vincenzo Camuccini, who died at the age of 73, is back; The Death of Priam (1795), Paris with the Shepherds (1803), The Death of Julius Caesar (1806), Scipio's moderator (1811), Ptolemy Philadelphus (1813), Portrait of Pope Pius VII (1815), Virginia's His death (1815), Portrait of Matilde Malenchini (1815), King of Sparta II. Leonidas, Hagar in the Desert (1817), The Discovery of Romulus and Remus (1820), Portrait of Klementyna Ostrowska Née Sanguszko (1822), Attilio Regolo's Departure from Carthage (1824), Roman Women Offering Their Jewels to Defend the State (1829) ) and many other works.
Vincenzo Camuccini Paintings, Oil Paint Reproduction, Canvas Prints, Drawing Paper, High Resolution Image Sales
Vincenzo Camuccini‘s works are drawn by master painters as oil painting reproductions. We also sell canvas prints, art drawing paper prints, and high resolution image (picture). Canvas is printed on high quality linen using original interior paints; prints have vibrantly colored and realistic. Optionally, oil paint brush effects are made on canvas sales. Drawing paper prints is done on 250 grams thick paint paper. Our art experts perform quality control for artistic aesthetics before products are shipped to the customer.