Also found in: Dictionary, Wikipedia.


(dōmānēkē`nō) or

Domenico Zampieri

(dōmā`nēkō tsämpyĕ`rē), 1581–1641, Italian painter, b. Bologna. He was one of the principal pupils of the Carracci, beginning as Ludovico Carracci's assistant in Bologna. In 1602 he went to Rome, where he worked with Annibale Carracci in the Farnese Palace. Later he carried out numerous fresco commissions for Roman churches, of which the most important are the Martyrdom of St. Andrew in San Gregorio Magno, the Life of St. Cecilia in San Luigi de' Francesci (1615–17), and the decoration of Sant' Andrea della Valle (1624–28). The finest easel painting of his early Roman years is the Last Communion of St. Jerome. He also worked in Naples, designing frescoes (unfinished) of a more baroque nature for the chapel of San Gennaro in the cathedral. As an adherent of classical doctrine and as an influential landscape painter, Domenichino has a place of considerable importance.


See catalog of drawings by J. W. Pope-Hennessy (1948).

References in periodicals archive ?
Guercino, a younger fellow countryman of Domenichino who was working in Bologna, produced a painting of the same scene for the Grand Duke of Tuscany, Cosimo II de' Medici.
Many of the paintings produced by Domenichino and artists within his orbit construct pictorial space in a way that invites movement through it, in the same direction as Mancini conceived of the movement of the eye from foreground to background.
As he didn't own any properties but rented from the Marquis of Anglesey, his money came from the sale of his own work and from paintings which he owned by other artists, such as French painters Georges Braque and Georges Rouault, American artist James McNeill Whistler, as well as the Italian Baroque painter Domenichino.
Domenichino portrayed his sitter, apparently a friend, with a directness, breadth of handling, and immediacy that sets the painting apart.
Instead, an ideal landscape based on the work of Italian painter Domenichino was used as a template.
Also up for sale was a masterpiece by the baroque master Domenico Zampieri, v II Domenichino (1581-1641).
The small, humorous, sharp-eyed elfin face of Domenichino, the merriest of the Bolognese painters, consorts well with his cheerful scenes.
His group ranges from a small Domenichino landscape picked up for 160 [pounds sterling] at an antique shop in Stow-on-the-Wold in 1973, and jewel-like oils on copper, to Orazio Gentileschi's monumental Danae and the Shower of Gold of 1621-22.
Whereas Giovanni Baglione, in his Lives of 1642, included more than two hundred biographies of artists, Bellori's was a highly selective group of twelve: nine painters (Annibale and Agostino Carracci, Federico Barocci, Caravaggio, Peter Paul Rubens, Anthony van Dyck, Domenichino, Giovanni Lanfranco, and Nicolas Poussin), two sculptors (Francois Du Quesnoy and Alessandro Algardi), and one architect (Domenico Fontana).
Of all the Bentvueghels, Poelenburgh and Swanevelt came closest to such Italian painters of their time as Domenichino.
On the other hand a canvas by Carracci had sold for 1,155 [pounds sterling] in 1800, and another by Domenichino for 1,837 [pounds sterling] and 10 shillings a decade later.
In this exemplary study, Elizabeth Cropper examines the story of Giovanni Lanfranco's claim that Domenichino took the composition for his altarpiece, the Last Communion of St.