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Pietro da Cortona

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Eigtl. Pietro Berrettini da Cortona, ital. Maler und Baumeister, Cortona 1.11.1596, +Rom 16.5.1669, Meister des röm. Barock, hauptsächlich in Rom, 1640/1647 in Florenz tätig. Unvergleichlicher Meister des barocken Illusionismus: Bildnerei und Baukunst werden in die maler.-perspektivische Wirkung miteinbezogen. Über dem wirklichen architekton. Raum eröffnen sich neue, ins Unendliche weisende Scheinräume, aus denen die Gestalten herabschweben. Als Baumeister an der Ausbildung des röm. Barock maßgebend beteiligt. Hauptwerke der Malerei: Prachtsaal des Palazzo Barberini, Rom (Fresken, vollendet 1651). Fresken des Palazzo Pamfili, Rom (1651/1654). Fresken in S. Maria in Vallicella (Chiesa Nuova), Rom (1647/1665). Mytholog. Deckenbilder der Säle des Palazzo Pitti, Florenz (um 1650 begonnen). Werke als Baumeister: SS. Martina e Luca, Rom (1635/1650, auch der Altar in der Unterkirche). Fassade von S. Maria della Pace, ebd. (um 1657).

1. Pietro da Cortona

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(Pietro Berrettini) (1596-1669) Italian painter and architect. He was a major influence in the development of the High Baroque. His enormous fresco Allegory of Divine Providence 1633–39 (Barberini Palace, Rome) glorifies his patron the pope and the Barberini family, and gives a convincing illusion of reality.
He studied at Cortona under a Florentine painter, Andrea Commodi, and then in Rome, where he attracted the notice of Urban VIII and enjoyed the patronage of a succession of pontiffs. 1620–1640 he produced paintings for the Marchese Sacchetti (Rome, Capitoline Gallery), frescoes for Cardinal Francesco Barberini in Santa Bibiana and other Roman churches, and his masterpiece, the allegorical ceiling painting for the Barberini Palace, 1633–39 (Rome, Galleria Nazionale), in which the illusionist effect of figures foreshortened and floating in space as seen from below was contrived with immense skill and daring.
Outside Rome he worked only in Florence (decorations for the Pitti Palace, 1640–47), refusing invitations to go to France and Spain. He later resumed work in Rome in the Pamfili and Barberini palaces. He collaborated with the theologian Ottonelli in a treatise on painting and sculpture, 1653, and as architect was responsible for the façade of Santa Maria in Via Lata and the church of San Martino in which he was buried.

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