Lanfranco, Giovanni

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Lanfranco, Giovanni

(jōvän`nē länfräng`kō), 1582–1647, Italian painter. Lanfranco is considered one of the foremost artists of the High Baroque. He was trained by the CarracciCarracci
, family of Italian painters of the Bolognese school, founders of an important academy of painting. Lodovico Carracci, 1555–1619, a pupil of Tintoretto in Venice, was influenced by Correggio and Titian. He also studied in Bologna, Padua, and Parma.
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 and worked primarily in Rome and Naples, where he executed numerous decorative plans for churches and palaces. Lanfranco greatly extended the scope of the illusionismillusionism,
in art, a kind of visual trickery in which painted forms seem to be real. It is sometimes called trompe l'oeil [Fr.,=fool the eye]. The development of one-point perspective in the Renaissance advanced illusionist technique immeasurably.
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 that he had studied in the works of Correggio and the Carracci. His remarkable trompe l'oeil designs, characterized by piercing shafts of light illuminating boldly foreshortened, cloud-borne figures that recede into infinite celestial distances, were endlessly imitated throughout Europe. Among his greatest works are the ceiling of the Casino Borghese (1616) and the dome of San Andrea della Valle (1621–25), both in Rome, and the magnificent ceiling of the Chapel of San Gennaro in Naples Cathedral (1641). The brilliant, translucent quality of his later works is displayed by his apse painting for San Carlo ai Catinari (Rome, 1646), his last work.
References in periodicals archive ?
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).
s Biki sale in Milan last October, and the 'surprisingly good sale' of an altarpiece of the Crucifixion painted by Giovanni Lanfranco for the Viceroy of Spain in Naples around 1630, which fetched more than 700,000 [euro] in November 2003, despite having unusual dimensions and being subject to an export ban.
Another sizeable work from the same period, but one with greater drama, is a scene attributed to Giovanni Lanfranco.
Domenichino's collaborator and fellow-pupil of the Carracci, Giovanni Lanfranco, painter of fanciful Baroque ceilings, represents, on a smaller scale than he was used to, the intense gesticulant conversation between Christ and the woman of Samaria.