Tuesday, July 5, 2022

Francesco Albani (1578-1660) - Bologna to Rome

Francesco Albani
Phoebus Apollo with Personifications of the Seasons, Hours and Planets
ca. 1616
ceiling fresco
Palazzo Verospi, Rome

Francesco Albani
Dancing Amorini
1622-23
oil on copper
Pinacoteca di Brera, Milan

Francesco Albani
Abduction of Europa
before 1660
oil on canvas
private collection

Francesco Albani
Apollo and Daphne
ca. 1615-20
oil on copper
Musée du Louvre

Francesco Albani
Salmacis and Hermaphroditus
ca. 1620
oil on copper
Musée du Louvre

Francesco Albani
Sleeping Cupid
ca. 1625-50
oil on canvas
National Museum, Warsaw

Francesco Albani
St Francis at Prayer before a Crucifix
after 1630
oil on copper
Musée du Louvre

Francesco Albani
Portrait of Andrea Calvi
1636
oil on canvas
National Museum of Wales, Cardiff

Francesco Albani
Venus attended by Nymphs and Cupids
ca. 1633
oil on canvas
Museo del Prado, Madrid

Francesco Albani
Mars and Venus
before 1660
oil on canvas
Chiswick House, London

Francesco Albani
The Annunciation
ca. 1620
oil on copper
Musée du Louvre

Francesco Albani
Virgin and Child in Glory
with St Jerome and St Francis

ca. 1640
oil on canvas
Pinacoteca Nazionale di Bologna

Francesco Albani
Holy Family
after 1610
oil on copper
Dulwich Picture Gallery, London

Francesco Albani
Baptism of Christ (detail)
ca. 1620-24
oil on canvas
Pinacoteca Nazionale di Bologna

Francesco Albani
Virgin and Child in Glory
with St Sebastian and St Roch

1635
oil on canvas
Collegiata di San Giovanni Battista,
San Giovanni in Persiceto

"Francesco Albani – Bolognese painter, a pupil first of Denys Calvaert, then of the Carracci.  He followed Annibale Carracci to Rome shortly after 1600, carrying out his designs for frescos in S. Giacomo degli Spagnuoli, 1602-7.  In 1609 he painted decorative frescoes in the Palazzo Giustiniani (now Odescalchi) and c. 1616 in the Palazzo Verospi (now Credito Italiano) where his growing fascination with Raphael is noticeable.  In 1616 he returned to Bologna, where his lyrical and rather slight talent was at its best in representations of myth and allegory in landscape.  . . .  In his later years he became increasingly involved in the theoretical defence of Classicism."

– Erika Langmuir and Norbert Lynton, Yale Dictionary of Art and Artists (2000)