Sunday, May 22, 2022

Federico Barocci (1535-1612) - Synthesis in Urbino

Federico Barocci
Study for a Portrait of Lavinia della Rovere
ca. 1565
oil on canvas
private collection

Federico Barocci
Portrait of Francesco Maria II della Rovere
1572
oil on canvas
Galleria degli Uffizi, Florence

Federico Barocci
Portrait of Francesco Maria II della Rovere (detail)
1572
oil on canvas
Galleria degli Uffizi, Florence

Federico Barocci
Portrait of a Young Lady
ca. 1600
oil on canvas
Statens Museum for Kunst, Copenhagen

Federico Barocci
Portrait of a Young Man
ca. 1580-90
oil on canvas
Musée des Beaux-Arts de Strasbourg

Federico Barocci
God the Father
before 1612
oil on canvas
Galleria Nazionale delle Marche, Urbino

Federico Barocci
Head of Christ in the Tomb
ca. 1600
oil on canvas
Bonnefantenmuseum, Maastricht

Federico Barocci
Il Perdono di Assisi
(plenary indulgence instituted under St Francis)
ca. 1575
oil on panel
(altarpiece)
Galleria Nazionale delle Marche, Urbino

Federico Barocci
Il Perdono di Assisi
1581
etching and engraving
National Gallery of Art, Washington DC

Federico Barocci
The Last Supper
ca. 1590-1600
oil on canvas
Cattedrale di Santa Maria Assunta, Urbino

Federico Barocci
Martyrdom of St Sebastian
 1557
oil on canvas
(altarpiece)
Cattedrale di Santa Maria Assunta, Urbino

"A painting by Barocci, the Martyrdom of St Sebastian (Urbino, Duomo), done in 1557 (when he was about twenty-two) reveals the formidable intelligence of mind and hand which, apparently during that very early year, he had learned to control exactly.  It also shows the measure of his power to fuse into a personal consistency the elements of a visual culture of an unusually diverse kind.  Barocci has exploited the environmental accident that put him in a place where Central Italy, Venice, and Emilia could exert almost equal forces of attraction on him, while fixing him to none of them.  The Martyrdom depends not only on Roman and Emilian Maniera but on the equivalent Venetian style: disegno in it has the energy of the one but works upon a colorism and an optical sensibility that belong to the other.  It is an exceedingly contemporary compound of the two maniere, yet within it there are still the most apparent residues of study of the older great of both the Roman and Venetian schools – Raphael, Michelangelo, and Titian; and beneath the apparatus of Maniera it is Titian's model that has been most deeply felt." 

– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)

Federico Barocci
Studies for St Sebastian
ca. 1592-96
drawing
Princeton University Art Museum

Federico Barocci
Figure Study for Stone-thrower
in the Martyrdom of St Vitalis

ca. 1582
drawing
Art Gallery of South Australia, Adelaide

Federico Barocci
Noli me tangere (detail)
ca. 1590
oil on canvas
Galleria degli Uffizi, Florence

Federico Barocci
Noli me tangere
ca. 1590
oil on canvas
Galleria degli Uffizi, Florence