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SACCHI, Andrea The Three Magdalenes DFY oil painting


The Three Magdalenes DFY
Painting ID::  9031
SACCHI, Andrea
The Three Magdalenes DFY
1634 Oil on canvas, 68 x 50,5 cm Galleria Nazionale d'Arte Antica, Rome

   
   
     

SACCHI, Andrea St Francis Marrying Poverty d oil painting


St Francis Marrying Poverty d
Painting ID::  9032
SACCHI, Andrea
St Francis Marrying Poverty d
1633 Oil on canvas 292 x 201 cm Galleria Nazionale d'Arte Antica, Rome

   
   
     

SACCHI, Andrea Hagar and Ismail in the Desert ug oil painting


Hagar and Ismail in the Desert ug
Painting ID::  9033
SACCHI, Andrea
Hagar and Ismail in the Desert ug
c. 1630 Oil on canvas, 96 x 92 cm National Gallery of Wales, Cardiff

   
   
     

SACCHI, Andrea Portrait of Monsignor Clemente Merlini sf oil painting


Portrait of Monsignor Clemente Merlini sf
Painting ID::  9034
SACCHI, Andrea
Portrait of Monsignor Clemente Merlini sf
c. 1630 Oil on canvas Galleria Borghese, Rome

   
   
     

SACCHI, Andrea Marcantonio Pasquilini Crowned by Apollo sg oil painting


Marcantonio Pasquilini Crowned by Apollo sg
Painting ID::  9036
SACCHI, Andrea
Marcantonio Pasquilini Crowned by Apollo sg
Oil on canvas Metropolitan Museum of Art, New York

   
   
     

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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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     | ASSERETO, Gioachino | Henrietta Ronner-Knip | Henri Felix Emmanuel Philippoteaux |


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