Sculptors

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

Sleeping Hermaphrodite – the ever-present third gender

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Sleeping Hermaphrodite – the ever-present third gender

The figure of the Hermaphrodite stimulated the imagination of the people of Antiquity in a particular way. A being of two genders – both female and male – seemed privileged exceptional, and completely ideal, however, it also aroused ambivalent feelings and suspicion. Therefore, it should come as no surprise that a figure with male genitalia and female breasts garnered a lot of attention both in literature as well as in the visual arts. When it comes to the latter, the favored topic (although not the only one), was a sleeping Hermaphrodite. This is how he is depicted, stretched on b...

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Simon Vouet’s Herodias with the Head of St. John the Baptist – femme fatale of the Baroque

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Simon Vouet’s Herodias with the Head of St. John the Baptist – femme fatale of the Baroque

Femme fatale is associated with painting and literature of the XIX century – with women who devoured the hearts of men, cold-blooded demons of sex who with premeditation led men to their downfall. However, beautiful, erotic, attractive, but at the same time ruthless and sophisticated women have always fascinated artists. We can find them in ancient literature and mythology, as well as in the Old and New Testaments. We can also see them in the painting creations of Caravaggio and his successors because it was exactly in the XVII century when Salome, Judith, and Herodias became fashionable...

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Spada Chapel – ancestors, meaning capital which cannot be underestimated

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Spada Chapel – ancestors, meaning capital which cannot be underestimated

Numerous posthumous chapels, which we can see during a pilgrimage through Roman churches are generally filled with decorations and works of art. They arouse our respect, and approval, and let our thoughts linger on the grandeur and significance of the family, but above all their sense of art. It is quite seldom that we think about them in purely practical categories, not to say mercantile. It is a rare situation indeed that we can say that the main motive of their creation was not only the desire to immortalize one’s fame, but also the prestige of future, yet unborn successors of the fam...

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