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Oil Paintings
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An option that you can own an 100% hand-painted oil painting from our talent artists. |
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SACCHI, Andrea
Italian painter, Roman school (b. 1599, Nettuno, d. 1661, Roma).Italian painter and designer. He occupied an important position, midway between Annibale Carracci and Carlo Maratti, in the development of a more restrained, less decorative painting in 17th-century Rome, a trend that culminated in the 18th century with Pompeo Batoni. Sacchi trained with Francesco Albani, Carracci's student, and taught Maratti. His often expressed devotion to the art of Raphael and Carracci and his criticism of the views of Pietro da Cortona and Gianlorenzo Bernini made him, with Nicolas Poussin and Alessandro Algardi, one of the most significant representatives of a stylistic and aesthetic opposition to the more flamboyant, extrovert aspects of the High Baroque. Sacchi did not, however, share Poussin's passionate interest in Classical antiquity, nor was his mature work as cerebral. Yet his mature style, less richly coloured than his early manner and more restrained emotionally, |
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SACCHI, Andrea
The Three Magdalenes DFY
1634
Oil on canvas, 68 x 50,5 cm
Galleria Nazionale d'Arte Antica, Rome
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SACCHI, Andrea
St Francis Marrying Poverty d
1633
Oil on canvas 292 x 201 cm
Galleria Nazionale d'Arte Antica, Rome
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SACCHI, Andrea
Hagar and Ismail in the Desert ug
c. 1630
Oil on canvas, 96 x 92 cm
National Gallery of Wales, Cardiff
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SACCHI, Andrea
Portrait of Monsignor Clemente Merlini sf
c. 1630
Oil on canvas
Galleria Borghese, Rome
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SACCHI, Andrea
Marcantonio Pasquilini Crowned by Apollo sg
Oil on canvas
Metropolitan Museum of Art, New York
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SACCHI, Andrea
The Vision of St Romuald af
c. 1631
Oil on canvas, 310 x 175 cm
Pinacoteca, Vatican
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| SACCHI, Andrea
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Italian painter, Roman school (b. 1599, Nettuno, d. 1661, Roma).Italian painter and designer. He occupied an important position, midway between Annibale Carracci and Carlo Maratti, in the development of a more restrained, less decorative painting in 17th-century Rome, a trend that culminated in the 18th century with Pompeo Batoni. Sacchi trained with Francesco Albani, Carracci's student, and taught Maratti. His often expressed devotion to the art of Raphael and Carracci and his criticism of the views of Pietro da Cortona and Gianlorenzo Bernini made him, with Nicolas Poussin and Alessandro Algardi, one of the most significant representatives of a stylistic and aesthetic opposition to the more flamboyant, extrovert aspects of the High Baroque. Sacchi did not, however, share Poussin's passionate interest in Classical antiquity, nor was his mature work as cerebral. Yet his mature style, less richly coloured than his early manner and more restrained emotionally,
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