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Andrea Sacchi
1559-1661
Italian
Andrea Sacchi Gallery
As a young man, Sacchi had worked under Cortona in Castel Fusano (1627-1629). But in a set of public debates later developed in the Roman Artist's Guild, Accademia di San Luca, he strongly criticized Cortona's exuberance. In particular, Sacchi advocated that since a unique, individual expression needs to be assigned to each figure in a composition, a painting should not consist of more than about ten figures. In a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this is a reaction against the zealous excess of crowds in paintings by men such as Zuccari of the prior generation, and by Cortona among his contemporaries. Simplicity and unity were essential to Sacchi. Cortona argued that large paintings were more like an epic, that could avail themselves of multiple subplots. The encrustation of a painting with excess decorative details, including melees of crowds, would represent "wall-paper" art rather than focused narrative. Among the partisan's of Sacchi's argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin.
The controversy was however less pitched than some suggest, and also involved the dissatisfaction that Sacchi and Albani, among others, shared regarding the artistic depiction of low or genre subjects and themes, such as preferred by the Bamboccianti and even the Caravaggisti. They felt that high art should focus on exalted themes- biblical, mythologic, or from classic history.
Sacchi, who worked almost always in Rome, left few pictures visible in private galleries. He had a flourishing school: Poussin and Carlo Maratta were younger collaborators or pupils. In Maratta's large studio, Sacchi's preference for grand manner style would find pre-eminence among Roman circles for decades to follow. But many others worked under him or his influence including Luigi Garzi, Francesco Lauri, Andrea Camassei and Giacinto Gimignani. Sacchi's own illegitimate son Giuseppe, died young after giving very high hopes.
Sacchi died at Nettuno in 1661.
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Marcantonio Pasquilini Crowned by Apollo
Metropolitan Museum of Art, New York
Painting ID:: 3697
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Marcantonio_Pasquilini_Crowned_by_Apollo
Metropolitan Museum of Art, New York
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The Three Magdalens
mk65
Oil and tempera on canvas
113x77 9/16in
Uffizi
Painting ID:: 28956
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The_Three_Magdalens
mk65
Oil and tempera on canvas
113x77 9/16in
Uffizi
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The three Mary magdalene
mk166
1628-1639
I Wave and tempera on cloth
287x197cm Uffizi, Florence
Painting ID:: 42053
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The_three_Mary_magdalene
mk166
1628-1639
I Wave and tempera on cloth
287x197cm Uffizi, Florence
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The Death of Dido
Medium Oil on canvas
Dimensions Expression error: Missing operand for *148 ?? 140 cm
Painting ID:: 70589
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The_Death_of_Dido
Medium Oil on canvas
Dimensions Expression error: Missing operand for *148 ?? 140 cm
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Hagar and Ishmael in the Wilderness
ca. 1630(1630)
Medium oil on canvas
Dimensions 75.6 x 92 cm (29.8 x 36.2 in)
cjr
Painting ID:: 90653
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Hagar_and_Ishmael_in_the_Wilderness
ca. 1630(1630)
Medium oil on canvas
Dimensions 75.6 x 92 cm (29.8 x 36.2 in)
cjr
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Andrea_Sacchi
1559-1661
Italian
Andrea Sacchi Gallery
As a young man, Sacchi had worked under Cortona in Castel Fusano (1627-1629). But in a set of public debates later developed in the Roman Artist's Guild, Accademia di San Luca, he strongly criticized Cortona's exuberance. In particular, Sacchi advocated that since a unique, individual expression needs to be assigned to each figure in a composition, a painting should not consist of more than about ten figures. In a crowded composition, the figures would be deprived of individuality, and thus cloud the particular meaning of the piece. In some ways this is a reaction against the zealous excess of crowds in paintings by men such as Zuccari of the prior generation, and by Cortona among his contemporaries. Simplicity and unity were essential to Sacchi. Cortona argued that large paintings were more like an epic, that could avail themselves of multiple subplots. The encrustation of a painting with excess decorative details, including melees of crowds, would represent "wall-paper" art rather than focused narrative. Among the partisan's of Sacchi's argument for simplicity and focus were his friends, the sculptor Algardi and painter Poussin.
The controversy was however less pitched than some suggest, and also involved the dissatisfaction that Sacchi and Albani, among others, shared regarding the artistic depiction of low or genre subjects and themes, such as preferred by the Bamboccianti and even the Caravaggisti. They felt that high art should focus on exalted themes- biblical, mythologic, or from classic history.
Sacchi, who worked almost always in Rome, left few pictures visible in private galleries. He had a flourishing school: Poussin and Carlo Maratta were younger collaborators or pupils. In Maratta's large studio, Sacchi's preference for grand manner style would find pre-eminence among Roman circles for decades to follow. But many others worked under him or his influence including Luigi Garzi, Francesco Lauri, Andrea Camassei and Giacinto Gimignani. Sacchi's own illegitimate son Giuseppe, died young after giving very high hopes.
Sacchi died at Nettuno in 1661.
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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