Pietro da Cortona (; 1 November 1596 or 1597His traditional year of birth is 1596, but as he was baptised on 27 November 1597, some more recent books on Cortona give his year of birth as 1597 as for example Pietro da Cortona 1597–1669, Lo Bianco A. (ed.), Electa, 1997.16 May 1669) was an Italian Baroque painter and architect. Along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini, he was one of the key figures in the emergence of Roman Baroque architecture. He was also an important designer of interior decorations.
He was born Pietro Berrettini, but is primarily known by the name of his native town of Cortona in Tuscany.Connors 1982, p. 455. He worked mainly in Rome and Florence. He is best known for his frescoed ceilings, such as the vault of the salone or main salon of the Palazzo Barberini in Rome and carried out extensive painting and decorative schemes for the Medici family in Florence and for the Oratorian fathers at the church of Santa Maria in Vallicella in Rome. He also painted numerous canvases. Only a limited number of his architectural projects were built, but nonetheless they are as distinctive and as inventive as those of his rivals.
Biography Early career Berrettini was born into a family of artisans and masons,The latter group included his uncle Filippo Berrettini in Cortona, then a town in the Grand Duchy of Tuscany. He trained in painting in Florence under Andrea Commodi, but soon he departed for Rome at around 1612/3, where he joined the studio of Baccio Ciarpi. He was involved in fresco decorations at the Palazzo Mattei in 1622-3 under the direction of Agostino Ciampelli, and Cardinal Orsini had commissioned from him an Adoration of the Shepherds (c. 1626) for San Salvatore in Lauro.
In Rome, he had encouragement from many prominent patrons. According to Cortona's biographersFor example, Giovanni Baglione Vite de' Pittore Scultori ed Architetti deall'anno 1641 sino all'anno 1673, Hess J. Leipzig and Vienna 1934 his gifted copy of Raphael's Galatea frescoThe fresco of Galatea by Raphael is in the Villa Farnesina, Rome brought him to the attention of , papal treasurer during the papacy of Pope Urban VIII. Such contacts helped him gain an early major commission in Rome (1624–1626), a fresco decoration in the church of Santa Bibiana that was being renovated under the direction of Bernini. In 1626, the Sacchetti family engaged Cortona to paint three large canvases of The Sacrifice of Polyxena, The Triumph of Bacchus, and The Rape of the Sabines (the latter, c. 1629),These three canvases are now in the Capitoline Museum and to paint a series of frescoes in the Villa Sacchetti at Castelfusano, near Ostia, using a team that included the young Andrea Sacchi. In the Sacchetti orbit, he met Pope Urban VIII and Cardinal Francesco Barberini, the papal nephew, and their patronage of Cortona provided him with ample scope to demonstrate his abilities as a painter of frescoes and canvases.
Grand Salon of Palazzo Barberini
Fresco cycles were numerous in Cortona's Rome; many represented "quadri riportati" or painted framed episodes imitating canvases as found in the Sistine Chapel ceiling or in Annibale Carracci's The Loves of the Gods in the Palazzo Farnese gallery (completed 1601). In 1633, Pope Urban VIII (Maffeo Barberini) commissioned from Cortona a large fresco painting for the main salon ceiling of the Barberini family palace; the Palazzo Barberini.Palazzo Barberini is now the Galleria Nazionale d'Arte Antica, Rome. It was completed six years later, following Cortona's influential visit to northern Italy, where he would have seen at first hand perspectival works by Paolo Veronese and the colour palette of Titian.
Cortona's huge Allegory of Divine Providence and Barberini Power marks a watershed in Baroque painting. Following the architecture of the room, he created the painted illusion of an open airy architectural framework against which figures are situated, usually seen 'al di sotto in su', apparently coming into the room itself or floating far above it. The ornamented architectural framework essentially forms five compartments. The central and most significant part celebrates the glorification of the reign of Urban VIII in a light-filled scene populated with allegorical figures and Barberini family emblems.
The illusion of spatial extension through paint, the grandiose theme and the skill of execution could only astonish and impress the visitor. However, Cortona's panegyric trompe-l'œil extravaganzas may be less popular in a world familiar with minimalism and such like, yet they are precursors of the sunny figures and cherubim infested with rococo excesses. They contrast markedly with the darker naturalism prominent in Caravaggisti works and with the classicising compositions by painters such as Domenichino and Andrea Sacchi, and remind us that Baroque painting could be grand in an epic manner and exuberant in spirit.
Frescoes in Palazzo Pitti
Cortona had been patronized by the Tuscan community in Rome, hence it was not surprising when he was passing through Florence in 1637, that he should be asked by Ferdinando II de' Medici, Grand Duke of Tuscany to paint a series of frescoes intended to represent Ovid's Four Ages of Man in the small Sala della Stufa, a room in the Palazzo Pitti. The first two frescoes represented the "ages" of gold and silver. In 1641, he was recalled to paint the 'Bronze Age' and 'Iron Age' frescoes. It is said he was guided in the formulation of the allegorical designs by Michelangelo Buonarroti the Younger.Biblioteca enciclopedica italiana, Volume 14, by Nicolo Bettoni; Milan (1831); page 130.
He thus began work on the decoration of the grand-ducal reception rooms on the first floor of the Palazzo Pitti, now part of the Palatine Gallery. In these five Planetary Rooms, the hierarchical sequence of the deities is based on Ptolemaic cosmology: Venus, Apollo, Mars, Jupiter (the Medici Throne room) and Saturn, but minus Mercury and the Moon, which should have come before Venus.Campbell, Malcolm, Pietro da Cortona at the Pitti Palace. A Study of the Planetary Rooms and Related Projects, Princeton University Press, 1977, p. 78 The program for the Planetary Rooms was prepared by Francesco Rondinelli, a member of the circle of Michelangelo Buonarroti the Younger. These highly ornate ceilings with frescoes and elaborate stucco work essentially celebrate the Medici lineage and the bestowal of virtuous leadership.Campbell, M. 1972, p. 146-154 Pietro left Florence in 1647 to return to Rome, and his pupil and collaborator, Ciro Ferri, was left to complete the cycle by the 1660s.Pietro Berrettini -Catholic Encyclopedia article
Late works
For a number of years, Cortona was involved for decades in the decoration of the ceiling frescoes in the Oratorian Chiesa Nuova (Santa Maria in Vallicella) in Rome, a work not finished until 1665.seen here Other frescoes are in Palazzo Pamphilj in Piazza Navona (1651–4).
In 1660, he executed The Stoning of Saint Stephen for the church of Sant'Ambrogio della Massima in Rome. The work currently hangs in the Hermitage Museum.
Towards the end of his life, he devoted much of his time to architecture, but he published a treatise on painting in 1652 under a pseudonym and in collaboration. He refused invitations to both France and Spain.
Debate with Andrea Sacchi He was elected as director of the Academy of St Luke, the painters' guild in Rome, in 1634. It was at the Academy in 1636 that Cortona and Andrea Sacchi were involved in theoretical controversies regarding the number of figures that were appropriate in a painted work.Wittkower, R. Art & Architecture in Italy 1600–1750, Pelican, 263–5
Sacchi argued for a few figures, since he felt it was not possible to grant meaningful individuality, a distinct role, to more than a few figures per scene. Cortona, on the other hand, lobbied for an art that could accommodate many subplots to a central concept. He also likely viewed the possibility of using many human figures in decorative detail or to represent a general concept. Within the context of this debate, the French painter Nicolas Poussin is known to have laughed at this discussion around fixed numbers.Gian Pietro Bellori, "Life of Nicolas Poussin" in The Lives of the Modern Painters, sculptors and Architects (Cambridge University Press: 2010), p. 323. Others have seen in this dichotomy the long-standing debate whether visual art is about theoretical principles and meant to narrate a full story, or a painterly decorative endeavour, meant to delight the senses. Cortona was a director of the Accademia from 1634 to 1638.
Cortona also contributed to a treatise in Florence along with the theologian and Jesuit Giandomenico Ottonelli titled: Trattato della pittura e scultura, uso et abuso loro: composto da un theologo e da un pittore (Stamperia, Giovanni Antonio Bonardi, Florence, 1652). Authorship in subsequent editions is attributed to Cortona.
Pupils Cortona employed or trained many prominent artists, who then disseminated his grand manner style. Apart from Ciro Ferri, others who worked in his studio included: Painter Dates Birthplace Source(H)Carlo Ascenzi 17th centuryRome, GennazanoOtherLazzaro Baldi 1623–1703Pistoia, moved to Rome(H)(W)Marcantonio Bellavia17th centuryFrancesco Bonifazio(H)(W)Lorenzo Berrettini (Cortona's nephew)Florence(W)Giovanni Ventura Borghesi1640–1708Rome(H)(W)Giovanni Maria Bottala1613-Naples(H)Andrea Camassei1602–1649Bevagna, moved to Rome(W)Salvi Castellucci1608–1672Florence(H)(W)Carlo Cesio1626–1686(H)(W)Giovanni Coli?-1681(H)(W)Guglielmo Cortese (Il Borgognone) (H)(W)Vincenzo Dandini 1607-Florence(W)(W)Nicholas Duval 1644-The Hague(H)Onofrio Gabrielli 1616–1706Messina(H)Camillo Gabrielli(W)Giacinto Gimignani1611–1681Pistoia, moved to Rome(H)(W)Filippo Gherardi 1643–1701 (H)(W)Paolo Gismondi1612–1685 Perugia(H)(W)Luca Giordano1632Naples (H)Giovanni Battista Langetti1635–1676Genoa(H)Pietro Lucatelli(W)Giovanni Marracci1637–1704Lucca(H)(W)Livio Mehus (Lieven Mehus)1630–1691(Active Florence)(H)(W)Giovanni Battista Natali1630–1700(H)Adriano Palladino1610–1680Cortona(MB)Bartolomeo Palommo1612-Rome(H)Pio Paolino? -1681Udine(H)Rodomonte di Pasquino PieriActive circa 1680VellanoStoria della Val di Nievole dall'origine di Pescia fino all'anno 1818, (1846) page 389.Giovanni Quagliata1603–1673 MessinaSusinno, Francesco (1960). Felice Le Monnier. ed. Le vite dei pittori messinesi; text, introduction and bibliographic notes by Valentino Martinelli. Italy (originally published 1724 in Italy): Firenze.Quagliata, Iana (2006). Giambattista Quagliata, Pittore E Architetto Del '600. Monza, Italy: Stampato da Quick Printing.Giovanni Francesco Romanelli1617–1662 (H)(W)Pietro Paolo Baldini(13)(H)(W)Raffaello Vanni(W)Adriano Zabarelli (W)
Romanelli and Camassei also trained under Domenichino. Giovanni Maria Bottala was one of his assistants on the Barberini Ceiling. Sources for (W);Wittkower R. p 543 and p 550. while sources for (H).J. R. Hobbes, p. 58.* Source for MB is Dictionary of Painters and Engravers, Biographical and Critical (Volume II L-Z).
Architectural projects