Filippo Juvarra

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Juvarra, Filippo


(also F. Juvara). Born Mar. 27, 1678, in Messina; died Feb. 1, 1736, in Madrid. Italian architect.

Juvarra studied in Rome between 1703 and 1714 under C. Fontana. He worked in Messina in 1714 and primarily in Turin from 1714 to 1735; in 1719 and 1720 he designed a palace in Portugal. In 1735 he moved to Madrid. Juvarra’s works in Turin include the facade and staircase of the Palazzo Madama (1718–21), the reconstruction of the Palazzo Reale (1720–21), and the Church of Santa Maria del Carmine (1732–36). He is also known for the majestic Superga monastery and church complex (1715–31) and for the hunting lodge at Stupinigi (1729–34), both of which are located near Turin.

In his works Juvarra combined features of the late baroque (and partially of the rococo) with the tendency toward classically clear forms and rectilinear layouts that was characteristic of early 18th-century Italian architecture.


Rovere, L., V. Viale, and A. E. Brinckmann. Filippo Juvarra. Milan, 1937.
References in periodicals archive ?
Collectors, especially in the 20th century, recognised the drawings of Filippo Juvarra, Giacomo Torelli, the Bibiena and Galliari families as artworks in their own right.
La llegada de todas estas piezas fue paulatina, acorde a las transformaciones que con los anos fue sufriendo el edificio, concebido inicialmente como residencia para el retiro del rey tras la abdicacion de Felipe V en 1724, y sucesivamente ampliado a partir del ano siguiente, al retomar el monarca la corona tras la inesperada muerte de Luis I, por el romano Andrea Procaccini y posteriormente por el siciliano Filippo Juvarra, ademas de convertirse, a partir de 1747, en la residencia de la reina viuda, Isabel de Farnesio (36).
Eye Clinic Section and Specialization School in Ophthalmology, Institute of Ophthalmology, Department of Clinical Pathophysiology, University of Turin, Via Juvarra 19, 10100 Turin, Italy
As a case study, we will analyse the urban building sites, with special attention to the Filippo Juvarra ones.
Este arquitecto turines llego el 6 de septiembre de 1736 para ponerse al frente de los trabajos en el palacio de la Granja sustituyendo a Juvarra (13).
A Turin llegaron pues eminentes maestros como Ascanio Vitozzi, Carlo e Amedeo di Castellamonte, Guarino Guarini, Filippo Juvarra e Benedetto Alfieri.
CENTRE D'ART CONTEMPORAIN GENEVE * September 13-November 24 * Curated by Andrea Bellini * In this survey of Bronstein's architectural drawings, expect a broad range of the London-based Argentinian artist's whimsical, mashed-up re-creations of grandiose Baroque palaces and piazzas, ornate Rococo interiors, Georgian town houses, and postmodernist cityscapes, all channeling the work of such visionary designers as Filippo Juvarra and Jean-Jacques Lequeu.
The impact of Cortona's designs on contemporary and later architects (e.g., Juvarra, Fuga) is more briefly discussed, but one comes away with a feeling of something that did not quite connect.
The first of several extremely effective screens shows churches by Juvarra, Andrea Pozzo, Andrea Palma and Guarini and that is without leaving Italy for the splendours of Bavaria and Austria or the widely flung reaches of Latin and South America.
Guarino Guarini laid the foundations in 1678 and Filippo Juvarra designed the altar 50 years later.
Filippo Juvarra, brought from his native Sicily with a commission to design the royal palace in Madrid for Ferdinand IV, invited Amigoni to join him there.
Almost two centuries later, the crown contracted the Sicilian architect Filippo Juvarra and his pupil Giovanni Battista Sacchetti to design the new Royal Palace after the old Alcazar burned in 1734 (33).