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Suicied of Cleopatra Måleriet identifieringen:: 39626
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Suicied of Cleopatra mk150
after 1659
canvas
140x159.5cm
mk150
after_1659
canvas
140x159.5cm
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Hl. Hieronymus Måleriet identifieringen:: 72036
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Hl. Hieronymus nach 1659
Oil on canvas
:160 x 110,5 cm
cjr nach_1659_
Oil_on_canvas
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:160_x_110,5_cm__
cjr
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Maria Maddalena Måleriet identifieringen:: 76693
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Maria Maddalena Oil on canvas
75,5 x 65,4 cm
cjr Oil_on_canvas
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75,5_x_65,4_cm
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cjr
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Kaiser Leopold I. (1640-1705) im Kronungsharnisch Måleriet identifieringen:: 76972
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Kaiser Leopold I. (1640-1705) im Kronungsharnisch um 1657/1658
Oil on canvas
190 x 120 cm
cjr um_1657/1658_
Oil_on_canvas
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190_x_120_cm
cjr
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Maddalena svenuta Måleriet identifieringen:: 78763
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Maddalena svenuta Maddalena svenuta, ol/tl, 86x72 cm Galleria Nazionale d'Arte Antica, Roma
1663
cjr Maddalena_svenuta,_ol/tl,_86x72_cm_Galleria_Nazionale_d'Arte_Antica,_Roma
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1663
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cjr
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| Föregående Konstnär Nästa Konstnär
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Guido Cagnacci
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(January 19, 1601 - 1663) was an Italian painter of the late-Baroque period, belonging to the Forle painting school and to the Bolognese School.
Born in Santarcangelo di Romagna near Rimini, he died in Vienna in 1663. He worked in Rimini from 1627 to 1642. After that, he was in Forle, where absorbed the lesson of the Melozzo's painting.
Prior to that he had been in Rome, in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci. His initial output includes many devotional subjects. But moving to Venice under the name of Guico Baldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings, often depicting sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene.This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1650, he moved to Venice. In 1658, he traveled to Vienna, where he remained under patronage of the emperor Leopold I.
His life was at times tempestuous, as characterized by his failed elopement (1628) with an aristocratic widow. Some contemporaries remark him as eccentric, unreliable and of doubtful morality. He is said to have enjoyed the company of cross-dressing models. |
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