Giuseppe Bazzani

Giuseppe Bazzani (23 September 1690 – 17 August 1769) was an Italian painter of the Rococo.

Giuseppe Bazzani
Ectasy of St Theresa
Born(1690-09-23)September 23, 1690
Mantua
DiedAugust 17, 1769(1769-08-17) (aged 78)
Mantua
NationalityItalian
EducationGiovanni Canti
Known forPainting
MovementBaroque
Patron(s)Giacomo Biondi

Biography

Born in Mantua to a goldsmith, Giovanni Bazzani, early on he apprenticed with the Parmesan painter Giovanni Canti (1653–1715). A fellow pupil was Francesco Maria Raineri. He spent most of his life in Mantua. From 1752, he was faculty, and from 1767, director of the Accademia di Belle Arti of Mantua.

While esconced in a declining provincial city, he absorbed international influences. His loose brushstrokes, fervid often dark emotionalism, and tortured poses, which recall at times later expressionism, display stylistic tendencies more typical of Lombardy. Numerous artists, including Fetti, Bencovich, Rubens, and Magnasco are said to have influenced him, although the number and diversity of the artists suggested hints that he had an idiosyncratic and unique synthesis for his time.

Among his early works are paintings of the Miracles of Pius V, the Conversion of a Heretic and the Healing of a Madwoman (all mid-1720s; Mantua, Museum of the Ducal Palace of Mantua), initially painted for the church of Saint Maurice in Mantua. He painted depictions of the evangelists St. John, St. Mark and St. Luke (all late 1720s) for the parish church of Vasto di Goito. He painted the Baptism, the Ecstasy of St. Aloysius Gonzaga and the Ecstasy of Saints Francis & Anthony (1732) for the parish church of Borgoforte. Seven canvases depicting the Life of Alexander the Great were painted for Giacomo Biondi, one of the artist's early patrons. His altarpiece of St Romuald's Vision, initially painted for the church of San Marco, but now in Diocesan Museum of Mantua,[1] the saint, book in hand, has a dream in which he sees his fellow Benedictine monks ascending to heaven in a clumsy, touching, human parade up a staircase instead of a mystical Jacob's ladder. The painting merges a mixture of mystical vision and stylized empiric observation. The nineteenth-century art historian Carlo D'Arco was unconvinced about this brash new style, and said of Bazzani's work that (he) wanted always to always use a great force of genius ...and most of his works appear as if unperfected sketches and immature conceptions that are drowning and convulsing in mannered styles."[2]

The painter Domenico Conti Bazzani (1740-1815) was his pupil and adopted son, and became a prominent Neoclassical painter in Rome.[3]

St Romuald's Vision
Agony in the Garden
Apollo and the Muse, Palazzo Cavriani
St Antony of Padua and Child
Esther and Ahaseurus
Daughter of Jephthah Louvre
gollark: Here you go, `b(d(e(e(io|oi)|i(eo|oe)|o(ei|ie))|i(e(eo|oe)|oe{2})|o(e(ei|ie)|ie{2}))|e(d(e(io|oi)|i(eo|oe)|o(ei|ie))|e(d(io|oi)|i(do|od)|o(di|id))|i(d(eo|oe)|e(do|od)|o(de|ed))|o(d(ei|ie)|e(di|id)|i(de|ed)))|i(d(e(eo|oe)|oe{2})|e(d(eo|oe)|e(do|od)|o(de|ed))|o(de{2}|e(de|ed)))|o(d(e(ei|ie)|ie{2})|e(d(ei|ie)|e(di|id)|i(de|ed))|i(de{2}|e(de|ed))))|d(b(e(e(io|oi)|i(eo|oe)|o(ei|ie))|i(e(eo|oe)|oe{2})|o(e(ei|ie)|ie{2}))|e(b(e(io|oi)|i(eo|oe)|o(ei|ie))|e(b(io|oi)|i(bo|ob)|o(bi|ib))|i(b(eo|oe)|e(bo|ob)|o(be|eb))|o(b(ei|ie)|e(bi|ib)|i(be|eb)))|i(b(e(eo|oe)|oe{2})|e(b(eo|oe)|e(bo|ob)|o(be|eb))|o(be{2}|e(be|eb)))|o(b(e(ei|ie)|ie{2})|e(b(ei|ie)|e(bi|ib)|i(be|eb))|i(be{2}|e(be|eb))))|e(b(d(e(io|oi)|i(eo|oe)|o(ei|ie))|e(d(io|oi)|i(do|od)|o(di|id))|i(d(eo|oe)|e(do|od)|o(de|ed))|o(d(ei|ie)|e(di|id)|i(de|ed)))|d(b(e(io|oi)|i(eo|oe)|o(ei|ie))|e(b(io|oi)|i(bo|ob)|o(bi|ib))|i(b(eo|oe)|e(bo|ob)|o(be|eb))|o(b(ei|ie)|e(bi|ib)|i(be|eb)))|e(b(d(io|oi)|i(do|od)|o(di|id))|d(b(io|oi)|i(bo|ob)|o(bi|ib))|i(b(do|od)|d(bo|ob)|o(bd|db))|o(b(di|id)|d(bi|ib)|i(bd|db)))|i(b(d(eo|oe)|e(do|od)|o(de|ed))|d(b(eo|oe)|e(bo|ob)|o(be|eb))|e(b(do|od)|d(bo|ob)|o(bd|db))|o(b(de|ed)|d(be|eb)|e(bd|db)))|o(b(d(ei|ie)|e(di|id)|i(de|ed))|d(b(ei|ie)|e(bi|ib)|i(be|eb))|e(b(di|id)|d(bi|ib)|i(bd|db))|i(b(de|ed)|d(be|eb)|e(bd|db))))|i(b(d(e(eo|oe)|oe{2})|e(d(eo|oe)|e(do|od)|o(de|ed))|o(de{2}|e(de|ed)))|d(b(e(eo|oe)|oe{2})|e(b(eo|oe)|e(bo|ob)|o(be|eb))|o(be{2}|e(be|eb)))|e(b(d(eo|oe)|e(do|od)|o(de|ed))|d(b(eo|oe)|e(bo|ob)|o(be|eb))|e(b(do|od)|d(bo|ob)|o(bd|db))|o(b(de|ed)|d(be|eb)|e(bd|db)))|o(b(de{2}|e(de|ed))|d(be{2}|e(be|eb))|e(b(de|ed)|d(be|eb)|e(bd|db))))|o(b(d(e(ei|ie)|ie{2})|e(d(ei|ie)|e(di|id)|i(de|ed))|i(de{2}|e(de|ed)))|d(b(e(ei|ie)|ie{2})|e(b(ei|ie)|e(bi|ib)|i(be|eb))|i(be{2}|e(be|eb)))|e(b(d(ei|ie)|e(di|id)|i(de|ed))|d(b(ei|ie)|e(bi|ib)|i(be|eb))|e(b(di|id)|d(bi|ib)|i(bd|db))|i(b(de|ed)|d(be|eb)|e(bd|db)))|i(b(de{2}|e(de|ed))|d(be{2}|e(be|eb))|e(b(de|ed)|d(be|eb)|e(bd|db))))` matches all anagrams of `beeoid`.
gollark: I'll run that test later™, I have to test my new `beeoid` anagram regex.
gollark: I don't think it's an optimal regex, but it's generated from the FSM.
gollark: On the plus side, apparently `b(e(es|se)|se{2})|e(b(es|se)|e(bs|sb)|s(be|eb))|s(be{2}|e(be|eb))` matches all anagrams of `bees`.
gollark: I reduced it to just 651 states and ran it with pypy, yet it STILL runs slowly?!

References
  • Wittkower, Rudolf (1993). Pelican History of Art: Art and Architecture Italy, 1600-1750. Penguin Books, Ltd. pp. 478–479.
  • Perina, Chiara (1964). Some Unpublished Paintings by Giuseppe Bazzani. The Art Bulletin. pp. 227–231.
  • Coddè, Dr. Pasquale (1837). Augmented and written by the Luigi Coddè, PhD. (ed.). Memorie Biografiche, poste in forma di Dizionario die Pittori, Scultori, Architetti, ed Incisori Mantovani. Presso i Fratelli Negretti, Mantua; Digitized by Googlebooks from Oxford University on 16 October 2006. pp. 12–17.
  • Web Gallery of Art biography on Bazzani.
  1. "Archived copy". Archived from the original on 2012-02-04. Retrieved 2012-02-10.CS1 maint: archived copy as title (link) museum website
  2. Delle arti e degli artefici di Mantova: notizie raccolte ed illustrate con Disegni e con Documenti, Volume 1, by Carlo D'Arco,(1857) Mantua.]
  3. Encyclopedia Treccani, Dizionario Biografico degli Italiani - Volume 28 (1983), entry by Ksenija Rozman.

Anthology
Label Work Date Site Link
a. Via Crucis San Barnaba, Mantua
b. Via Crucis Parish church, Cavriana
c. History of Alexander the Great c. 1740 Palazzo d'Arco, Mantua
d. Baptism of Christ c. 1732 Parish church, Borgoforte
e. Ecstasy of Saint Aloysius Gonzaga c. 1729 Parish church, Borgoforte
f. Baptism of Christ c. 1737 San Giovanni del Dosso, Mantua
g. Delivery of the Keys to St. Peter 1739 Parish Church, Goito
h. Sermon of the Baptist c. 1740 Parish church, Gazoldo degli Ippoliti
i. Doubting Thomas c. 1742 Private collection
j. Madonna with St. Clare & Annunciation 1751-52 Parish church, Revere
k. Miracles of Pius V 1752 San Maurizio, Mantua
l. Ovals in private collections Mantua and Bologna
m. Ovals of the Miracle of the Rosary Originally, parish church of Cavriana
n. Canvases Santa Maria della Carita, Mantua
o. Ovals for the ceiling of St. Barnaba c. 1768 San Paolo, Mantua
p. St. Margaret of Cortona 1764 Prampolini-Tirelli collection
q. Saint Anthony of Padua with the Infant Christ c. 1745 National Gallery, London
r. Pieta with the Magdalen c. 1750 Cleveland Museum of Art, Ohio, USA
s. Incredulity of St. Thomas 1730 Tucson Museum of Art, Arizona, USA
t. Departure of Prodigal Son 1750 Nelson-Atkins Museum, Kansas City, USA
u. The Tribute Money MacKenzie Art Gallery, Saskatchewan
v. The Tribute Money 1742 San Diego Museum of Art, California, USA
w. Rest in Flight to Egypt Accademia, Venice
x. The Daughter of Jephthah Louvre, Paris
y. The walk to Mount Calvary Louvre, Paris
z. Deposition from the Cross
aa. Ecstasy of St Theresa 1745
bb. Agony of Christ in the Garden Uffizi Gallery, Florence
bb. Santa Margarita da Cortona 1740 Galleria della Fondazione Banca Agricola Mantovana, Mantua
cc. St. Longinus, Sant'Andrea, Sant'Elena with the relice of the precious blood 1740 ibid
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