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| Domenico Gargiulo and Viviano Codazzi Triumphal Entry of Constantine into Rome (figures by Gargiulo, architectural landscape by Codazzi) ca. 1636-38 oil on canvas Museo del Prado, Madrid |
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| Domenico Gargiulo and Viviano Codazzi Triumphal Entry of Vespasian into Rome (figures by Gargiulo, architectural landscape by Codazzi) ca. 1636-38 oil on canvas Museo del Prado, Madrid |
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| Domenico Gargiulo and Viviano Codazzi Roman Amphitheater (figures by Gargiulo, architectural landscape by Codazzi) 1638 oil on canvas Museo del Prado, Madrid |
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| Domenico Gargiulo and Viviano Codazzi Roman Gymnasium (figures by Gargiulo, architectural landscape by Codazzi) 1638 oil on canvas Museo del Prado, Madrid |
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| Domenico Gargiulo and Viviano Codazzi Circus Maximus (figures by Gargiulo, architectural landscape by Codazzi) 1638 oil on canvas Museo del Prado, Madrid |
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| Domenico Gargiulo and Viviano Codazzi The Men's Bath (figures by Gargiulo, architecture by Codazzi) ca. 1645 oil on canvas Wadsworth Atheneum, Hartford, Connecticut |
A native of Naples, Domenico Gargiulo was nicknamed Micco Spadero in reference to his father's profession as a sword maker. The young Gargiulo seems to have been particularly open to wide-ranging sources of inspiration, with an aptitude for artistic collaboration. About 1628 he entered the Naples workshop of Aniello Falcone where he befriended Andrea di Leone and Salvator Rosa. Gargiulo's early works were also influenced by Paul Bril and Filippo Napoletano. The latter arrived in Naples in 1627-28 and may have stimulated Gargiulo's interest in the etchings of Jacques Callot and Stefano della Bella. At a later period productive encounters are documented with both Luca Giordano and Artemisia Gentileschi. Architectural painter Viviano Codazzi served as partner on an extensive series of joint projects [as seen above]. German painter Johann Heinrich Schönfeld – active in Naples from 1638 to 1643 – reinforced the visual appeal of an imagined antiquity. It is probable that Gargiulo did himself at some point spend a period of study among the ruins of Rome, though his entire working life remained set in Naples (a city ruled at this period by Spain).
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| Domenico Gargiulo Landing of the Infanta Marìa at Naples 1649 oil on canvas Fundación Banco Santander, Madrid |
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| Domenico Gargiulo Piazza del Mercato (Naples) during the Revolt of Masaniello, 1647 ca. 1648-52 oil on canvas Museo di San Martino, Naples |
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| Domenico Gargiulo Eruption of Vesuvius in 1631 ca. 1656-60 oil on canvas private collection |
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| Domenico Gargiulo Rebecca and Eliezer at the Well ca. 1655-70 oil on canvas Statens Museum for Kunst, Copenhagen |
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| attributed to Domenico Gargiulo Meeting of Isaac and Rebecca ca. 1655-70 oil on canvas Northampton Museums and Art Gallery (Great Britain) |
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| Domenico Gargiulo Woman riding Triton before 1675 drawing Metropolitan Museum of Art, New York |
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| Domenico Gargiulo Seated and Reclining Figures before 1675 drawing Metropolitan Museum of Art, New York |
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| Domenico Gargiulo Charioteer before 1675 drawing Metropolitan Museum of Art, New York |