Tuesday, July 12, 2022

Sisto Badalocchio (1585-1657) - Parma, Bologna, Rome

Sisto Badalocchio
St John the Evangelist
ca. 1610-30
oil on canvas
Galleria Estense, Modena

Sisto Badalocchio
Tancred baptizing Clorinda
(scene from Gerusalemme Liberata of Torquato Tasso)
ca. 1609-10
oil on canvas
Galleria Estense, Modena

Sisto Badalocchio
Virgin and Child
ca. 1603-1605
oil on canvas
Pinacoteca Capitolina, Rome

Sisto Badalocchio
St John baptizing the People in the River Jordan
ca. 1617-21
oil on canvas
Galleria Estense, Modena

Sisto Badalocchio
Gods of the Four Elements
ca. 1605
ceiling fresco
Sala di Giove, Palazzo Bentivoglio, Bologna

Sisto Badalocchio
Ganymede receives the Chalice of Immortality
ca. 1605
ceiling fresco
Sala di Giove, Palazzo Bentivoglio, Bologna

Sisto Badalocchio
Scene of Combat from the Roman History of Titus Livius
ca. 1605
frieze fresco
Sala di Giove, Palazzo Bentivoglio, Bologna

Sisto Badalocchio
Scene with Romulus and Remus
from the Roman History of Titus Livius

ca. 1605
frieze fresco
Sala di Giove, Palazzo Bentivoglio, Bologna

Sisto Badalocchio
Holy Women at the Sepulchre
ca. 1620
drawing
Metropolitan Museum of Art, New York

attributed to Sisto Badalocchio
Apollo and Marsyas
ca. 1615-20
drawing
Teylers Museum, Haarlem

Sisto Badalocchio
St Sebastian
before 1647
drawing
Royal Collection, Windsor

attributed to Sisto Badalocchio
Sketches for St Sebastian and a River God
ca. 1620
drawing
Musée du Louvre

attributed to Sisto Badalocchio
Nude Figures enacting a Scene of Violence
ca. 1620
drawing
Musée du Louvre

attributed to Sisto Badalocchio
Baptism of Christ
ca. 1620
drawing
Musée du Louvre

attributed to Sisto Badalocchio
Study of the Head of a Youth
before 1647
drawing
Royal Collection, Windsor

In Art and Architecture in Italy, 1600-1750, Rudolf Wittkower describes a generation of young artists emerging from the Carracci academy in Bologna at the beginning of the seventeenth century, a cohort that included Sisto Badalocchio –

"I have already indicated that the Carracci school presents a picture vastly different from the Caravaggisti.  A phalanx of young Bolognese artists, observing Annibale's success, chose to follow him to Rome; nor did events show that their assessment of the situation was incorrect.  They had besides much to recommend themselves.  First and foremost they were excellent artists.  They had undergone a thorough training in the Carracci academy and had acquired a solid classical background even before they reached Rome.  They were supported by Annibale's unrivalled authority and could rely on a circle of wealthy and powerful patrons.  Moreover, they were all masters of the fresco technique and were, therefore, both able to assist Annibale in his own work and to execute monumental fresco commissions on their own account.  In addition, during the short reign of Gregory XV (1621-3), who was himself born in Bologna, they were in undisputed command of the situation."