Rome for beginners and for the advanced, for the curious and the courageous.

Sculptors

Alessandro Algardi (1598–1654) – unappreciated master of the Baroque art

Sculptors

Andrea Sansovino (approx. 1467–1529) – the one who was able to bring the dead back to life

Sculptors

Antonio Canova (1757–1822) – praised by his contemporaries, disregarded by later generations

Sculptors

Antonio Raggi (1624–1686) – a second pair of hands for master Bernini

Sculptors

Bartolomeo Ammannati (1511–1592) – the beginnings of an outstanding career of a great Italian Mannerist

Sculptors

Camillo Rusconi (1658–1728) – a little known genius of the turn of the centuries

Sculptors

Cosimo Fancelli (1618–1688), a great, but second-tier master of the Roman Baroque

Sculptors

Domenico Guidi (1625–1701) – meaning Bernini in the French style

Sculptors

Ercole Ferrata (1610–1686) – an imitator of extraordinary talent

Sculptors

Francesco Cavallini (1640–1703) – a sculptor of garlands and swaying saints

Sculptors

Francesco Mochi (1580–1654) – ousted, forgotten, disconsolate

Sculptors

Giovanni (Gian) Lorenzo Bernini (1599–1680) – Impulsive, arrogant and ingenious favorite of the popes

Sculptors

Giovanni Battista Maini (1690–1752) – elegance of late Baroque

Sculptors

Giuliano Finelli (1602–1653) – a sculptor of lace, leaves and collars, but also more

Sculptors

Jacopo Sansovino (1486–1570) – unappreciated in Rome, famous in Venice

Sculptors

Michelangelo (1475–1564), a painter by force – divine, yet miserable

Sculptors

Pierre Le Gros (1666–1719) – the dramatically halted magnificent Roman career

Sculptors

Pietro Bracci (1700–1773) – a master of elegance and theatrical gestures

Sculptors

Stefano Maderno (c. 1570–1636) – an artist famous for just one statue

Magdalene Fainting – a bold act (between mystical rapture and sexual ecstasy

The painting is considered to be one of the most provocative acts in the history of art. And truthfully, looking at it, it is hard to believe that it was painted by an artist of the Baroque. And it is not about the modern, painted in broad strokes scenes, but about the uncompromising boldness in depicting a woman's body, an almost blasphemous crossing of the border of decency. If it was not for the cross, skull, and metal whip, we could safely assume that this is simply a bold, sensual act. Yet it is the fainted saint of the Catholic Church. What caused her to faint and does this scene really...

Portrait of Cardinal Bernardino Spada – a diligent, hard-working, and prudent official

Since the very beginning of his services at the court of Pope Urban VIII Cardinal Spada was considered a dutiful, unyielding, and consistent man. Tall and well-built, he was seen as a handsome man, who garnered respect, and even fear, due to both his mental and physical qualities, but was not well-liked. And if on top of that, we add the perfectionism and pedantry that was attributed to him, then his portrait would be complete. However, the cardinal was not much concerned about his spiritual and mental qualities when he entrusted the painting of his portrait to the Bolognese painter Guido Reni...

Domenico Guidi’s The Lamentation – dramatic pathos, a throng of people, and movement

In 1648, the 23-year-old at that time Domenico Guidi arrived in the Eternal City. He had to leave his hometown of Naples, due to the riots connected with Neapolitan Rebellion, in which he actively took part. He was already well-versed in sculpture thanks to his uncle Giuliano Finelli, in whose workshop he had been working until then. This relationship most likely proved to be a great trump card for an artist searching for commissions in Rome, but it could have also been a hindrance. This is due to the fact that the artistic community of the city was ruled by Gian Lorenzo Bernini – he was...

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