Carlo Dolci
Paintings
Virgin and Child with the Infant Saint John the Baptist
The Adoration of the Kings
The Madonna at prayer
Christ in the Garden Gethsemane
Saint Agatha
The Infant Christ with a Floral Wreath
The Penitent Magdalene
The Penitent Mary Magdalene
Saint Jerome in Prayer
The Virgin and Child with Flowers
Saint Philip Neri
Vittoria della Rovere as St. Catherine, bust-lengt
Guardian Angel Tutoring the Christian Child
The Holy Family with God the Father and the Holy Spirit
Portrait of Vittoria della Rovere in Widow's Weeds
Salome with the Head of St John the Baptist
Drawings
See also
Carlo (or Carlino) Dolci (25 May 1616 – 17 January 1686) was an Italian painter of the Baroque period, active mainly in Florence, known for highly finished religious pictures, often repeated in many versions. He was born in Florence, on his mother's side the grandson of a painter. Although he was precocious and apprenticed at a young age to Jacopo Vignali, Dolci was not prolific. "He would take weeks over a single foot", according to his biographer Baldinucci. His painstaking technique made him unsuited for large-scale fresco painting. He painted chiefly sacred subjects, and his works are generally small in scale, although he made a few life-size pictures. He often repeated the same composition in several versions, and his daughter, Agnese Dolci, also made excellent copies of his works.
Dolci was known for his piety. It is said that every year during Passion Week he painted a half-figure of the Saviour wearing the Crown of Thorns. In 1682, when he saw Giordano, nicknamed "fa presto" (quick worker), paint more in five hours than he could have completed in months, he fell into a depression.[2] He died in Florence in 1686.
Works
Saint Paul the Hermit, before 1648, National Museum in Warsaw.
The grand manner, vigorous coloration or luminosity, and dynamic emotion of the Bolognese-Roman Baroque are foreign to Dolci and to Baroque Florence. While he fits into a long tradition of prestigious official Florentine painting, Dolci appears constitutionally blind to the new aesthetic, shackled by the Florentine tradition that holds each drawn figure under a microscope of academicism. Wittkower describes him as the Florentine counterpart, in terms of devotional imagery, of the Roman Sassoferrato.[3] Pilkington declared his touch "inexpressibly neat ... though he has often been censured for the excessive labour bestowed on his pictures, and for giving his carnations more of the appearance of ivory than the look of flesh", a flaw that had been already apparent in Agnolo Bronzino.
Among his best works are St Sebastian; the Four Evangelists at Florence; Christ Breaking the Bread;[4] the St Cecilia at the Organ;[5] an Adoration of the Magi in the National Gallery, London; the St. Catherine Reading[6] and St Andrew praying before his Crucifixion (1646) in the Palazzo Pitti. He completed his portrait of Fra Ainolfo de' Bardi, when he was only sixteen. He also painted a large altarpiece (1656) for the church of Sant' Andrea Cennano in Montevarchi. As was typical for Florentine painters, this was a painting about painting, and in it the Virgin of Soriano holds a miraculous and iconic painting of St Dominic.[7]
Footnotes
Getty Museum biography
Web Gallery of Art biography
Wittkower, p.345
Subsequently at Burleigh
in the Dresden Gemäldegalerie.
in the Residenzgalerie, Salzburg.
Charles McCorquodale, "Some Unpublished Works by Carlo Dolci" The Burlington Magazine (1979) pages 140, 142-147, 149-150.
References
Wittkower, Rudolf (1993). Art and Architecture Italy, 1600-1750. Penguin Books, Pelican History of Art. pp. 345–346.
1913 Catholic Encyclopedia article Carlo Dolci.
Public Domain This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.
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