Artists
Alessandro Algardi (1598–1654) – unappreciated master of the Baroque art
Andrea Pozzo (1642–1709) – a master of painting illusion
Andrea Sansovino (approx. 1467–1529) – the one who was able to bring the dead back to life
Annibale Carracci (1560–1609) – a straightforward recluse in the world of Roman splendor
Antiveduto Grammatica (1571–1626) – an expert on heads with an extraordinary name
Antoniazzo Romano (1430? – 1512?) – an outstanding imitator of great masters
Antonio Canova (1757–1822) – praised by his contemporaries, disregarded by later generations
Antonio Raggi (1624–1686) – a second pair of hands for master Bernini
Armando Brasini (1879–1965) – creator of a bombastically draped architecture
Artemisia Gentileschi (1593–1653) – an unwomanly painter, humiliated and forgotten for centuries
Baciccio (1639–1709) – the creator of heaven and hell on Earth
Camillo Rusconi (1658–1728) – a little known genius of the turn of the centuries
Caravaggio (1571–1610) - a subtle interpreter of the Bible and a common criminal
Carlo Maderno (1556–1629) – a sought-after, hard-working and talented architect
Carlo Maratti (Maratta) (1625–1713) – an outstanding portraitist and a father of an equally outstanding daughter
Carlo Rainaldi (1611–1691) – an architect with a love for music
Carlo Saraceni (1579–1620) – an artist somewhere between verismo and idealism
Cosimo Fancelli (1618–1688), a great, but second-tier master of the Roman Baroque
Domenichino (1581–1641), the Roman rise and Neapolitan fall of little Dominic
Domenico Fontana (1543–1607) – an exceptional architect of an entrepreneurial pope
Domenico Guidi (1625–1701) – meaning Bernini in the French style
Donato Bramante (1444 –1514) – a famous wrecker, who changed the face of Rome
Ercole Ferrata (1610–1686) – an imitator of extraordinary talent
Francesco Borromini (1599–1667) – a distrustful melancholic and an extravagant architect
Francesco Cavallini (1640–1703) – a sculptor of garlands and swaying saints
Francesco Mochi (1580–1654) – ousted, forgotten, disconsolate
Giacomo della Porta (1533–1602), an author of Roman fountains and the most famous façade in the history of art
Giovanni (Gian) Lorenzo Bernini (1599–1680) – Impulsive, arrogant and ingenious favorite of the popes
Giovanni Battista Maini (1690–1752) – elegance of late Baroque
Giovanni Lanfranco (1582–1647) – painter of the Church triumphant
Giuliano Finelli (1602–1653) – a sculptor of lace, leaves and collars, but also more
Giuseppe Cesari (1568–1640) – in the past popular, today a forgotten favorite of the popes
Guercino (1591–1666) – short career of the Pope’s chosen one in Rome
Guido Reni (1575–1642) – a gambler with subtle manners
Jacopo Sansovino (1486–1570) – unappreciated in Rome, famous in Venice
Luigi Moretti (1907–1973) – a rationalist, Fascist and postmodern architect
Marcello Piacentini (1881–1960) – praised and criticized creator of Fascist Rome
Melozzo da Forlì (1438–1494) – the one who introduced the delicate touch of Renaissance to Rome
Michelangelo (1475–1564), a painter by force – divine, yet miserable
Onorio Longhi (1568–1619) – a vagabond architect
Orazio Gentileschi (1563–1639) – an intimate realist prone to rowdiness
Pietro Bracci (1700–1773) – a master of elegance and theatrical gestures
Pietro da Cortona (1596–1669) – a virtuoso of glories, triumphs and apotheoses of all kinds
Pinturicchio (1454–1513) – a creator of a simple, filled with grace storylines
Raphael (1483–1520) – the prematurely deceased genius of the Renaissance
Stefano Maderno (c. 1570–1636) – an artist famous for just one statue
Trophime Bigot (1597–1650) – a mysterious master of candlelight
Raphael (1483–1520) – the prematurely deceased genius of the Renaissance
He was adored by the rich and influential, while on the day of his death, he was mourned not only by Pope Leo X but also the whole artistic community. He was seen as a pleasant, gentle, kind, and sociable person, who on top of that was righteous and noble. As his biographer, Giorgio Vasari claimed, "Raphael passionately loved women and was always ready for their services. This was why he was constantly seeking bodily pleasures." These kept him away from his work and perhaps as the concerned Vasari suggested, were also the cause of his death.
See moreThe Transfiguration – the most divine of all Raphael’s works
He was viewed as a painting genius, while his painting as exceptional. His figures were beautiful, both in the physical as well as the spiritual dimension, compositions were clear, the color scheme perfect. However, Raphael's last work cannot be characterized in this way. The artist has no desire to emanate with harmony, just the opposite – he puts us in front of distinct emotions, faces twisted in a grimace, dramatic gestures, and shouts, which seem to come to the viewer from inside the painting.
See moreBernini’s Habakkuk and the Angel, meaning the story of a mysterious journey into the lion’s den
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Bernini’s Habakkuk and the Angel, meaning the story of a mysterious journey into the lion’s den
We enter the chapel and immediately our eyes are drawn to a group of figures, which seems to blast open the niche in which it finds itself – an older man in a dynamic pose, who is held by an angel by his lock of hair. The lively gestures of their hands indicate that there is a conflict brewing. The angel seems to be ordering the man to do something, which he questions, pointing in a different direction. When we follow the angel’s finger, we begin to understand what he means. He is pointing to a figure of another man found in the opposite niche – but what is it that truly conn...
See moreZgodnie z art. 13 ust. 1 i ust. 2 rozporządzenia Parlamentu Europejskiego i Rady (UE) 2016/679 z 27 kwietnia 2016 r. w sprawie ochrony osób fizycznych w związku z przetwarzaniem danych osobowych i w sprawie swobodnego przepływu takich danych oraz uchylenia dyrektywy 95/46/WE (RODO), informujemy
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