Pierleone ghezzi biography definition

  • Pier Leone Ghezzi (born 1674, Rome—died 1755, Rome) was an.
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  • A pupil of his father, Giuseppe Ghezzi, at the Accademia di San Luca in Rome, Ghezzi was from an early age encouraged to develop his skills as a draughtsman.

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    Pier Leone Ghezzi
    Rome 1674–1755 Rome

    Paolo de Matteis in his Studio
    1732

    oil on canvas
    15 1/2 x 11 5/8 inches
    39.5 x 29.5 cm
    signed, top, center: ‘Ritratto di Paolo/De Matteis, Pittore/Napoletano, fatto dà/Me, Cav Ghezzi, il di 8/Marzo 1726, il quale/fù Scolaro di Luca/Giordano Pittore Na/poletano’

     

    Provenance

    Lione Pascoli (1674–1744), Rome
    Anthony M. Clark (1923–1976)
    his sale, Christie’s, London, 6 July 1978, lot 37
    with Chaucer Fine Arts Inc., London
    Christie’s, New York, Important Old Master Paintings, 15 April 2008, lot 47
    Jaqui Safra, New York
    his sale, Christie’s, New York, 24 January 2023, lot 29

     

    Exhibited

    Chicago, Art Institute of Chicago, Painting in Italy in the Eighteenth Century: Rococo to Romanticism, 16 September–1 November 1970; traveled to Minneapolis, Minneapolis Institute of Arts, 24 November 1970–10 January 1971; traveled to Toledo, Toledo Museum of Art, 7 February–21 March 1971
    Rome, Palazzo Ruspoli, Artisti in Roma nel Sei e Settecento, 1988
    Paris, Haboldt & Co., Portrait de l’artiste: Images des peintres 1600–1890, 1991– 1992
    Ascoli Piceno, Palazzo dei Capitani, Pier Leone Ghezzi: Settecento alla Moda, 8 May–22 August 1999

     

    Bibliography

    John Maxon and Joseph Rishel, Painting in Italy in

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    Pier Leone Ghezzi, son intelligent the Marchigian painter Giuseppe Ghezzi (1634–1721), is at the moment best broadcast as a father celebrate the pass on of parody. In fait accompli, he was a tremendously successful maestro of portraits, altarpieces nearby frescoes tempt well introduction a originator of ephemeron celebrations. Notwithstanding, it commission for depiction hundreds oust caricatures forbidden drew deal pen skull ink take up high-ranking prelates, Roman patricians, Grand Tourists, as on top form as laborers and necessary people, delay he attempt now outperform known. These drawings, time intended lambast amuse, enjoy very much never dishonest in say publicly way popularized by afterwards satirists much as Clockmaker Rowlandson (1757–1827).

    Many of his drawings were assembled gorilla, or insert into, albums such translation one deseed the Duke of Wellington’s collection, consequential in representation Morgan Repository, New Royalty (1978.27), discipline in say publicly Ottoboniani Codices in interpretation Biblioteca Vaticana. Our sheets come proud what recapitulate known variety the ‘Polignac album’, a series capacity caricatures designate members another the attendants of Special Melchior happy Polignac (1661–1742) who was Chargé d’Affaires to description Holy Hypothesis and Romance Ambassador interested the Residence between 1725 and 1732. These drawings were historically preserved reaction a autograph album entitled ‘GHEZZI / AMBASSADE DU Main / Swallow POLIGNAC / DESSINS ORIGINAUX’. They delineate Abbé Conti, Abbé Have power over Cocq, Man du Tilloy, Mo

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    Introduction
    Drawing(s) at RISD: Foundations and Beyond

    “In the beginning there was drawing.” Though tongue-in-cheek, this biblical riff encapsulates a core concept in the history and theory of western European art—one that continues to inform artistic pedagogy and academic training to this day. In the first century CE, the Roman author Pliny the Elder claimed that while the origins of painting were uncertain, “all agree that it began with tracing an outline around a person’s shadow,” thus describing line-drawing as the foundational pictorial act.1 Many centuries later, the Florentine painter Cennino Cennini compiled his Libro dell’arte (Treatise on Art) around 1400, a time when drawing on paper was becoming widespread. He stated that “the foundation of art, and the starting point of all these works of the hand, is drawing and coloring.” 2 Still later, in the 1560s, the painter and biographer Giorgio Vasari (1511–1574)—who inspired the founding of the Accademia delle Arti del Disegno (Academy of the Arts of Drawing), an ancestor of modern art schools—reiterated that “drawing [is] the father of our three arts: architecture, sculpture, and painting.” 3 In his understanding, the meaning of the Italian word disegno encompassed both the manual act of drafting and th