Francesco Cavallini (1640–1703) – a sculptor of garlands and swaying saints
Francesco Cavallini (1640–1703) – a sculptor of garlands and swaying saints
Francesco Cavallini, sculpture decorations of the main altar, Basilica of San Carlo al Corso
Francesco Cavallini, tombstone of Giorgio Bolognetti, Church of Santissimi nomi di Gesù e Maria
Francesco Cavallini, tombstone of Mario Bolognetti, Church of Santissimi nomi di Gesù e Maria
Francesco Cavallini, statues of saints in the niches and angels in the abutment, Church of San Marcello al Corso
Chapel of St. Anne, Angels by Francesco Cavallini among others, Church of Santa Maria in Campitelli
Francesco Cavallini, statue of St. Barnabas in the ambulatory of the Basilica of San Carlo al Corso
Francesco Cavallini, statue of St. Marcellina in the ambulatory of the Basilica of San Carlo al Corso
Francesco Cavallini, statue of St. Stephen in the ambulatory, Basilica of San Carlo al Corso
Francesco Cavallini, statue of St. Philip Neri, Basilica of San Carlo al Corso
Francesco Cavallini, statue of St. John the Baptist, Basilica of San Carlo al Corso
Francesco Cavallini, statue of St. Sebastian, Basilica of San Carlo al Corso
Francesco Cavallini, decorations of the Cybo Chapel, bust of Cardinal Alderano Cybo, Basilica of Santa Maria del Popolo
Francesco Cavallini, Cybo Chapel, bust of Cardinal Lorenzo Cybo, Basilica of Santa Maria del Popolo
Francesco Cavallini, Christ Crucified, Basilica San Carlo al Corso
Francesco Cavallini, sculpting decorations of the main altar of the Basilica of San Carlo al Corso
Francesco Cavallini, angels in the main altar of the Church of Santissimi nomi di Gesù e Maria
When he came to Rome in 1672, he was accepted into the workshop of Cosimo Fancelliand quickly became his best student. Both of them patterned themselves after Gian Lorenzo Bernini and his influences should be sought out in the refined shape of Cavalini’s figures with billowing robes and naturalistically treated images. However, the works of this artist as it should be with late Baroque, have something truly dancing, swaying in them, while the saints created by him seem to be posing for an attractive photo shoot rather than displaying their martyrdom or religious virtue.
When he came to Rome in 1672, he was accepted into the workshop of Cosimo Fancelliand quickly became his best student. Both of them patterned themselves after Gian Lorenzo Bernini and his influences should be sought out in the refined shape of Cavalini’s figures with billowing robes and naturalistically treated images. However, the works of this artist as it should be with late Baroque, have something truly dancing, swaying in them, while the saints created by him seem to be posing for an attractive photo shoot rather than displaying their martyrdom or religious virtue.
This sculptor is an author of numerous stuccos - garlands, putti and angel heads present in various Roman churches (Santa Maria in Aracoeli, Santissimi nomi di Gesù e Maria, Santa Maria in Campiteli, Santa Maria dell’Umilità). However, they were not the only ones that made him famous. Those that were the best known, the monumental sculptures, are found in the ambulatory of the Church of San Carlo al Corso. In Rome which was full of exceptional sculpting talents Cavallini was not a great artistic individuality, but rather and able background artist. Looking at his works, for example in the aforementioned Church of Santi Gesù e Maria, we must focus on this background – because in it he showed his great ability, which in any other part of Europe would have been considered masterful.
Some of the Roman works of Francesco Cavallini:
Palazzo Borghese
Three Graces in the palace nymphaeum, 1672
Church of San Carlo al Corso
Sculptures of angels in the altar, placed in the ambulatory monumental figures of saints: John the Baptist, Barnabas, Philip Neri, Marcellina, Sebastian, Stephen (1672-1682), crucifix on the altar (first chapel on the right)
Cosimo Fancelli (1618–1688), a great, but second-tier master of the Roman Baroque
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