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{{Short description|Italian painter}}
[[File:L Spada Concierto 1615 Louvre.jpg|right|thumb|200px|''Concert'', [[Louvre]]]]▼
{{Expert needed|arts|reason=article has few in-line sources or illustrations, possible inaccuracies|date=January 2019}}
'''Leonello Spada''' (also called ''Lionello Spada'') (1576 – May 17, 1622) was an [[Italy|Italian]] painter of the [[Baroque]] period, active in Rome and his native city of [[Bologna]], where he became known as one of the followers of [[Caravaggio]].▼
 
▲[[File:L Spada Concierto- 1615Concert Louvre02.jpg|right|thumb|200px|''Concert'', [[Louvre]]]]
▲'''Leonello Spada''' (also called ''Lionello Spada'') (1576 – May 17, May 1622) was an [[ItalyItalians|Italian]] painter of the [[Baroque]] period, active in [[Rome]] and his native city of [[Bologna]], where he became known as one of the followers of [[Caravaggio]].
 
==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<ref>[http://www.jstor.org/view/00076287/ap020328/02a00030/2?frame{{citation needed|date=noframe&userID=83e6e4bc@siu.edu/01cce4405f00501b04906&dpi=3&config=jstor]</ref>.November 2015}} His early independent canvases reflect a mannerist style akin to the BologneseFlemish [[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’sSpada'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>
==Relationship to Caravaggio==▼
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 <ref>[http://www.jstor.org/view/00043079/sp040007/04x0132b/9?frame=noframe&userID=83e6e4bc@siu.edu/01cce4405f00501b04906&dpi=3&config=jstor]</ref>.▼
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 [[Valleta]] 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>.▼
 
▲==RelationshipInteraction towith Caravaggio==
But this, as much of Spada’s output, may not reflect a gathered flame of inspiration but a pale reflection, a mimicry of the harsh passion, which when linked to his Carraci upbringing leads to a weakened pastiche. Leonello Spada is known to have made many copies of other painters.▼
▲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 <ref>[http://www.jstor.org/view/00043079/sp040007/04x0132b/9?frameneeded|date=noframe&userID=83e6e4bc@siu.edu/01cce4405f00501b04906&dpi=3&config=jstor]</ref>.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 [[ValletaValletta]] 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>.
 
▲But this, as much of Spada’sSpada's output, may not reflect a gathered flame of inspiration but a pale reflection, a mimicry of the harsh passion, which when linked to his Carraci upbringing leads to a weakened pastiche. Leonello Spada is known to have made many copies of other painters.
He painted a large canvas for the [[Basilica of San Domenico]] in Bologna, depicting ''St Dominic Burning the Books of the Heretics'', (1616). The Ghiara frescoes are perhaps his masterpiece and demonstrate a return to Carraccian models. Other works of this fruitful period include the ''Return of the Prodigal Son'' and ''Aeneas and Anchises'' (both at [[Louvre]]). ▼
 
▲He painted a large canvas for the [[Basilica of San Domenico]] in Bologna, depicting ''St Dominic Burning the Books of the Heretics'', (1616). The Ghiara frescoes in Reggio Emilia are perhaps his masterpiece and demonstrate a return to Carraccian models. Other works of this fruitful period include the ''Return of the Prodigal Son'' and ''Aeneas and Anchises'' (both at [[Louvre]]).
 
In 1617, he was commissioned by [[Ranuccio I Farnese, Duke of Parma|Duke Ranuccio I Farnese]], to decorate the newly built [[Teatro Farnese]] for Parma. His ‘’Mystic Marriage of St Catherine’ (1621; Parma, San Sepolcro) is a late painting.
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<gallery>
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'', [[Louvre]]
File:Leonello Spada - St Jerome - WGA21652.jpg|''St Jerome'', [[Galleria Nazionale d'Arte Antica]]
File:Spada-new-concerto.jpg|''Concerto'', [[Galleria Borghese]]
</gallery>
 
==Partial anthology==
*''Aeneas and Anchises'' (1615, Louvre)
*''Saint Jerome'' (attributed once to Giuseppe Ribera, 1618, Museo Arte Antica, Rome) [http://www.safran-arts.com/42day/art/art4may/art0517.html]
*''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'', (attributed 1600-16251600–1625, Philbrook Museum, Kansas CityTulsa)
 
==References==
{{reflistReflist}}
*{{cite book | first= Rudolf|last= [[Wittkower|author-link= Rudolf Wittkower|Wittkower]]| year=1993| title= Art and Architecture Italy, 1600-1750| chapter= | editor= Pelican History of Art | others=1980 | pages= 92, 94–95 | publisher= Penguin Books Ltd| id= | url= | authorlink= }}
 
==External links==
{{commons category}}
{{commonscat}}
*[http://www.groveart.com/shared/views/article.html?section=art.080250&authstatuscode=200 Grove art encyclopedia entry]
 
{{Caravaggisti}}
 
{{Authority control}}
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]] -->
 
| NAME =Spada, Leonello
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{{DEFAULTSORT:Spada, Leonello}}
[[Category:1576 births]]
[[Category:1622 deaths]]
[[Category:People16th-century fromItalian Bolognapainters]]
[[Category:Italian male painters]]
[[Category:Bolognese17th-century Italian painters]]
[[Category:Painters from Bologna]]
[[Category:Italian Baroque painters]]
[[Category:Caravaggisti]]
 
[[Category:Catholic painters]]
[[es:Leonello Spada]]
[[fr:Leonello Spada]]
[[it:Lionello Spada]]
[[pl:Lionello Spada]]
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