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
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
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.