| Giovanni Battista Salvi Da Sassoferrato |
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| 1609 births | |
| 1685 births | |
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Giovanni Battista Salvi da Sassoferrato (also known as Giovanni Battista Salvi) ( August 25 , 1609 - August 8 , 1685 ) was an Italian Baroque painter. He is named after his birthplace ( Sassoferrato ). BIOGRAPHY The sparse facts that we have on the life of Giovanni Battista Salvi are:
Salvi was born in the small town of Sassoferrato in the Marches region of central Italy some half-way between Rome and Florence towards the Adriatic coast. As was the custom of the time he became known by the name of his place of birth, as were Leonardo da Vinci and Caravaggio. Sassoferrato served his apprenticeship under his father, the painter Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in the town of Sassoferrato. The rest of Giovanni's education is undocumented though it is thought that he worked under Domenico Zampieri , known as Domenichino, who was himself strongly influenced by the Carracci family of Bologna (c. 1580) in their Academy of the Progressives. Through the Carracci Academy can be traced an influence on Sassoferrato by Francesco Albani and by Guido Reni . In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master. (See page 699 in Russell, F.(1977). Sassoferrato and his Sources: a Study of Seicento Allegiance. The Burlington Magazine, CXIX pp 694-700. As well as artists with whom Sassoferrato may have worked, his paintings also show the influence of such painters as Pierre Mignard - it is possible that Mignard and Sassoferrato met in Rome in the 1630s, Albrecht Durer , Giovan Francesco Barbieri (best known as Guercino ), and above all Raphael and Raphael's master Pietro Perugino . Sassoferrato has left record of few public commissions and he seems to have spent the prime of his productive life producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the counter-reformational drive of the Catholic Church. Sassoferrato's work was held in high regard through to the mid-nineteenth century reaction against sweet devotional art work reinforced in England by the critical commentary of John Ruskin . The late 20th century century saw a revival of interest in Italian Baroque archaizing painting with the redoubtable Guido Reni's strength of reputation leading the way generating a surge of auction interest also in Sassoferrato. There are over three hundred works by Sassoferrato in public exhibition spaces in 2006 throughout the world including almost all of his extant drawings in the Royal collection at Windsor in England. Sassoferrato's most imposing work in situ is the altarpiece ''The Madonna of the Rosary'' in the Basilica of Santa Sabina All'Aventino , ironically a replacement for a supposed Raphael. REFERENCES |
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