Barocci, Federico
Italian, 1535-1612 .Italian painter. The leading altar painter in Italy in the second half of the 16th century, he enjoyed a greater popularity and exerted a more profound influence on the art of his time than any of his contemporaries. His patrons included the Pope, Emperor, King of Spain and Grand Duke of Tuscany, and among his admirers were Lodovico Cigoli, Annibale Carracci, Rubens and Guido Reni. However, his work did not begin to receive the acclaim accorded that of Tintoretto or El Greco until the mid-20th century. Several factors have obscured his importance, notably the relative inaccessibility and scarcity of his painted works, most of which were done on commission for specific locations in remote parts of Italy (where they have remained), and the type of painting he produced, which was almost exclusively devoted to religious subjects. He executed very few easel paintings. No autograph example of his painted work has ever left Europe, the portrait of Quintilia Fischieri (c. 1600; Washington, DC, N.G.A.) and pair of portraits of Federigo Ubaldo, Prince of Urbino
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Barocci, Federico The Nativity oil painting


The Nativity
1597, oil on canvas, Museo del Prado, Madrid.
Painting ID::  9787 		Barocci, Federico
The Nativity
1597, oil on canvas, Museo del Prado, Madrid.
   
   
     
Barocci, Federico The Circumcision (mk05) oil painting


The Circumcision (mk05)
1590 Canvas,140 1/4 x 99''(356 x 251 cm)Painted for the high altar of a church at Pesaro from which it came in 1797;entered the Louvre in 1789;ceded to the Cathedral of Notre Dame de Paris for sixty years and given by the Chapter in 1862
Painting ID::  20313 		Barocci, Federico
The Circumcision (mk05)
1590 Canvas,140 1/4 x 99''(356 x 251 cm)Painted for the high altar of a church at Pesaro from which it came in 1797;entered the Louvre in 1789;ceded to the Cathedral of Notre Dame de Paris for sixty years and given by the Chapter in 1862
   
   
     
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     Barocci, Federico
     Italian, 1535-1612 .Italian painter. The leading altar painter in Italy in the second half of the 16th century, he enjoyed a greater popularity and exerted a more profound influence on the art of his time than any of his contemporaries. His patrons included the Pope, Emperor, King of Spain and Grand Duke of Tuscany, and among his admirers were Lodovico Cigoli, Annibale Carracci, Rubens and Guido Reni. However, his work did not begin to receive the acclaim accorded that of Tintoretto or El Greco until the mid-20th century. Several factors have obscured his importance, notably the relative inaccessibility and scarcity of his painted works, most of which were done on commission for specific locations in remote parts of Italy (where they have remained), and the type of painting he produced, which was almost exclusively devoted to religious subjects. He executed very few easel paintings. No autograph example of his painted work has ever left Europe, the portrait of Quintilia Fischieri (c. 1600; Washington, DC, N.G.A.) and pair of portraits of Federigo Ubaldo, Prince of Urbino

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