Lanfranco, Giovanni

(redirected from Giovanni Lanfranco)
Also found in: Wikipedia.

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.
..... Click the link for more information.
 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.
..... Click the link for more information.
 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.
The Columbia Electronic Encyclopedia™ Copyright © 2013, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/
References in periodicals archive ?
Chapter 8 focuses on the work of Giovanni da San Giovanni and Giovanni Lanfranco as pioneers of the Roman Baroque, although with distinct approaches to cloud illusionism.
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).
Among the best results for the later period, he mentions a pair of vedute by Francesco Guardi, La Torre di Marghera and a Capriccio Architettonico con Rovine Romane e Piramidi, that went for 1.167m [euro] at Porro & C.'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.
A large oil painting from the 17th century, the image is one of hundreds of "portraits" created by an artist who earned the title of "Madonna painter." Another sizeable work from the same period, but one with greater drama, is a scene attributed to Giovanni Lanfranco. In this oil, which illustrates a vision of Cajetan of Thiene (founder of the Congregation of the Theatines in 1524), a nearly incandescent Infant Jesus illuminates the face of the young Virgin as she hands her child to the saint.
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.
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.