Content deleted Content added
No edit summary |
m added links |
||
| (7 intermediate revisions by 4 users not shown) | |||
Line 1:
{{Short description|Italian painter}}
{{
[[File:Spada - Concert 02.jpg|right|thumb|''Concert'', [[Louvre]]]]
'''Leonello Spada''' (also called ''Lionello Spada'') (1576 – 17 May 1622) was an [[
==Biography==
He first apprenticed with painter [[Cesare Baglioni]]. By the early [[17th century]], Spada was active, together with [[Girolamo Curti]], as a member of a team specializing in decorative [[quadratura]] painting in Bologna.{{citation needed|date=November 2015}} His early independent canvases reflect a mannerist style akin to the Flemish [[Denis Calvaert]] who resided in Bologna. In 1604 he made an unsuccessful bid for the commission to decorate the sacristy of the Basilica of Santa Maria di Loreto. By then he had already gravitated to the [[Annibale Carracci|Carracci]] Academy, having contributed to the decorations for the funeral of Agostino Carracci in 1603. His earliest surviving major painting, the altarpiece of the ''Virgin and Saints Dominic & Francis Interceding with Christ'' (1604), shows that he had modeled his style on that of [[Ludovico Carracci]]. He frequently collaborated with other students of Ludovico, especially [[Francesco Brizio]] and remained in Bologna until 1607. Spada's figurative style gradually became more robust, as shown by the ''Miraculous Draught of Fishes'' (1607).
Among his pupils was [[Pietro Martire Armanni]].<ref>[https://books.google.com/books?id=ZNVWAAAAcAAJ|Notizie de' pittori, scultori, incisori e architetti natii degli stati del Serenissimo Signor Duca di Modena], by Girolamo Tiraboschi, (1786) page 96.</ref>
==
Whether Spada either met or became an assistant of [[Caravaggio]], like [[Bartolomeo Manfredi|Manfredi]], is unclear. The biographer [[Count Carlo Cesare Malvasia|Malvasia]] makes plain in his ''Felsina pittrice'' his distaste for Caravaggio, and apparently describes Spada and Caravaggio as equally "dissolute" and "precipitous"; and there are suggestions that for Caravaggio, Spada was a man "close to his heart", and perhaps not metaphorically.{{citation needed|date=November 2015}}
Malvasia also tells the story of Spada posing for Caravaggio's ‘’Death of John the Baptist’’: afraid that Spada might flee and, that without a model the painting would be incomplete, Caravaggio imprisoned him in a room until he had finished. However, it is unclear if Spada ever physically encountered Caravaggio in Rome. Spada supposedly was in [[Rome]] after 1608-9, when Caravaggio had fled to [[Malta]]. Malvasia suggests the Spada followed Caravaggio to Malta. This is possible since Spada himself painted frescoes in the Magisterial palace of [[Valletta]] in 1609-1610; but Caravaggio again had fled to Sicily by 1608, thus their overlap in Malta must have been short. The dark violence of a painting such as the ''Cain Killing Abel'' ([[Museo di Capodimonte]]) and his derivative realism ''Musical Concert'' garnered him in Bologna, the maligning appellation of "scimmia del Caravaggio" (ape of Caravaggio).<ref>[ Wittkower p94]</ref>
Line 22 ⟶ 24:
File:L Spada Eneas y Anquises 1615 Louvre.jpg|''Aeneas and Anchises'', [[Louvre]]
File:L Spada Martirio de San Pedro Hermitage.jpg|''Martyrdom of Saint Peter'', [[Hermitage Museum|Hermitage]]
File:L Spada Regreso del hijo pródigo Museo del Louvre.jpg|''Return of the Prodigal Son'',
File:Leonello Spada - St Jerome - WGA21652.jpg|''St Jerome'', [[Galleria Nazionale d'Arte Antica]]
File:Spada-new-concerto.jpg|''Concerto'', [[Galleria Borghese]]
Line 32 ⟶ 34:
*''Abraham and Melchizedek'' [http://www.pinacotecabologna.it/collezione/ricerca/collRicerca2.php?autore_search=124&secolo_search=1600]
*''Return of Prodigal Son'' (after 1615, Louvre)
*''A Soldier''
==References==
| |||