Of course, the Baroque was the era of putti in painting. But it is truly not everyone who can fill a painting with dancing cupids and say about himself that he was more than just their painter. After the death of his first wife in the year, the Italian painter Francesco Albani married again. And in his second marriage he became the father of ten children, who are said to have served as models for the many putti that accompany a significant part of his work.
In general, his life plan was a model of straightforwardness: born in Bologna, after his first steps with Denys Calvaert, he moved to the Carracci brothers in their Bolognese academy. His more famous classmate and colleague in first collaborative projects was Guido Reni. They knew each other since Calvaert and left the academy for Rome to work there for Annibale Carracci and to train in religious fresco painting. Artists' biographers conceive the element of tension of rivalry between the two. But why should they compete? Reni, who was later said to have a difficult character, initially took his cue from Raphael and stayed in Rome to work for the time being. For Albani, on the other hand, who developed a less retrospective style, detachment soon followed. Then he became independent and, after stays in Mantua and again in Rome, finally settled in his hometown of Bologna. There he maintained his own workshop, which provided him and his family with the necessary income. As a person and patron he is said to have been of remarkable kindness and modesty. Especially in dealing with his employees, he was said to be very friendly.
Although he first earned his spurs as a performer of the religious and later produced quite a few devotional paintings with his workshop, Albani is fondly regarded as the myth painter among the Bolognese and the pioneer of modern landscape painting. His lines are soft, very friendly colors. His knowledge of mythology is remarkable. For example, his depictions of Europa: the painter followed Ovid's model with absolute fidelity (leaving aside Europa's left hand for a moment). But both aspects should not be separated: because overall he was the painter of myth in landscape. The landscapes always in harmonious division, the mythical figures in it balanced positioned. Even if they are always accompanied by a flock of putti, the viewer does not have to orientate himself for a long time to grasp the essence. And yet he can easily lose himself in the graceful areas or study the depicted scenes in depth.
After a full life and very respected, Francesco Albani finally died at home in Bologna, very old. Unjustly, he has temporarily faded a little into the background in the consciousness of the art world. However, the importance of his work has not suffered, as evidenced by the resurgence of interest in him.
Of course, the Baroque was the era of putti in painting. But it is truly not everyone who can fill a painting with dancing cupids and say about himself that he was more than just their painter. After the death of his first wife in the year, the Italian painter Francesco Albani married again. And in his second marriage he became the father of ten children, who are said to have served as models for the many putti that accompany a significant part of his work.
In general, his life plan was a model of straightforwardness: born in Bologna, after his first steps with Denys Calvaert, he moved to the Carracci brothers in their Bolognese academy. His more famous classmate and colleague in first collaborative projects was Guido Reni. They knew each other since Calvaert and left the academy for Rome to work there for Annibale Carracci and to train in religious fresco painting. Artists' biographers conceive the element of tension of rivalry between the two. But why should they compete? Reni, who was later said to have a difficult character, initially took his cue from Raphael and stayed in Rome to work for the time being. For Albani, on the other hand, who developed a less retrospective style, detachment soon followed. Then he became independent and, after stays in Mantua and again in Rome, finally settled in his hometown of Bologna. There he maintained his own workshop, which provided him and his family with the necessary income. As a person and patron he is said to have been of remarkable kindness and modesty. Especially in dealing with his employees, he was said to be very friendly.
Although he first earned his spurs as a performer of the religious and later produced quite a few devotional paintings with his workshop, Albani is fondly regarded as the myth painter among the Bolognese and the pioneer of modern landscape painting. His lines are soft, very friendly colors. His knowledge of mythology is remarkable. For example, his depictions of Europa: the painter followed Ovid's model with absolute fidelity (leaving aside Europa's left hand for a moment). But both aspects should not be separated: because overall he was the painter of myth in landscape. The landscapes always in harmonious division, the mythical figures in it balanced positioned. Even if they are always accompanied by a flock of putti, the viewer does not have to orientate himself for a long time to grasp the essence. And yet he can easily lose himself in the graceful areas or study the depicted scenes in depth.
After a full life and very respected, Francesco Albani finally died at home in Bologna, very old. Unjustly, he has temporarily faded a little into the background in the consciousness of the art world. However, the importance of his work has not suffered, as evidenced by the resurgence of interest in him.
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