Baroque
1600
75.0 x 60.0 cm
المتحف الأثري الوطني في تارانتولوحة زيتية مرسومة يدوياً على الكانفاس بالمقاس والإطار الذي تفضله، تُنفذ حسب الطلب على أيدي فنانينا. ( اشترِ نسخة مطبوعة
اشترِ الصورة)
اختر من بين أحجامنا المُعدّة مسبقًا والتي تتطابق مع النسب الأصلية للعمل الفني.
يمكنك إدخال أبعادك الخاصة لتناسب إطارًا معينًا أو مساحة محددة. وإذا لم يتطابق الحجم الذي اخترته مع نسب الصورة الأصلية، فسنقوم إما بقص العمل الفني أو توسيع اللوحة بإضافة عناصر مرسومة يدويًا. سيتم إرسال نموذج رقمي إليك للموافقة عليه قبل بدء الإنتاج.
يرجى ملاحظة أن المعاينة على الشاشة لا تعكس عملية القص أو التوسيع الفعلية؛ حيث إن النموذج الرقمي وحده هو الذي سيوضح التكوين النهائي بدقة.
وعلى الرغم من توفر أحجام مخصصة، إلا أننا نوصي باختيار أبعاد من القائمة المحددة مسبقًا للحفاظ على النسب الأصلية للعمل الفني.
توصيل عالمي إلى خلال 3 إلى 4 أسابيع بدلاً من المدة المعتادة البالغة 5 أسابيع. (12 أغسطس). جودة لا تهاون فيها.
Painting of Christ the Redeemer
مقاس النسخة المطبوعة
Andrea Vaccaro was born in Naples in 1604, the son of Pietro Baccaro, a legal professional, and Gioanna di Glauso. Initially pursuing literary studies, he later turned to art. Contrary to earlier beliefs that he apprenticed under Girolamo Imparato, it is now known that Imparato died before Vaccaro began his artistic journey. At the age of 16, Vaccaro was apprenticed to Giovanni Tommaso Passaro, a lesser-known artist. Very little documentation exists regarding this early phase of his career.
Around 1620, Vaccaro's paintings began exhibiting the influence of Caravaggio and his Neapolitan followers. He reportedly created a copy of Caravaggio’s “Flagellation,” which was once displayed alongside the original in San Domenico Maggiore. After 1630, Vaccaro broadened his artistic horizons, drawing inspiration from Guido Reni, Anthony van Dyck, and Pietro Novelli. He produced copies of their works for Neapolitan collectors and art dealers, suggesting he may have also been involved in art dealing himself – a common practice among Neapolitan painters of the time.
Vaccaro’s career flourished, with his paintings becoming highly sought after throughout Naples and beyond. He secured patronage from various sources, including religious orders and noble patrons in Spain, beginning around 1635. Notably, he received significant support from Gaspar de Bracamonte, the Spanish viceroy of Naples. The plague devastated Naples in 1656, claiming many artists, but Vaccaro continued to receive commissions, most notably for frescoes in the Theatine Church of San Paolo Maggiore – his sole fresco commission.
Vaccaro was a founding member and head of the 'congrega dei ss anna e luca,' a painter's guild aimed at elevating the status of artists in Naples. Between 1650 and 1670, his art significantly influenced Neapolitan painting alongside figures like Massimo Stanzione and the emerging Luca Giordano. Vaccaro’s stylistic development is complex, initially marked by Caravaggio’s tenebrism before evolving to incorporate influences from Reni, Van Dyck, and Cavallino. His monogram, composed of interlaced "A" and "V" initials, appears on several of his works. Attributing authentic works remains challenging due to the large scale of his workshop and the prevalence of copies.
1604 - 1670 , Italy
أخبرنا عن مشروعك، وسيقدم لك خبراؤنا الفنيون 3 اقتراحات فنية مخصصة لك.
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