Giuseppe Cesari

Giuseppe Cesari (February 1568 - Jul 3, 1640) was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII He was much patronized in Rome by both Clement and Sixtus V He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome

Cesari's father, Muzio Cesari, had been a native of Arpino, but Giuseppe himself was born in Rome Here, he was apprenticed to Niccolò Pomarancio Cesari is stigmatized by Lanzi, as not less the corrupter of taste in painting than Marino was in poetry (Lanzi disdained the style of post-Michelangelo Mannerism as a time of decline)

Cesari's first major work done in his twenties was the painting of the right counterfacade of San Lorenzo in Damaso, completed from 1588 to 1589 On 28 June 1589, he receives the commission for the murals of the choir vault in the Certosa di San Martino in Naples From 1591 he is again in Rome, where he painted the vault in the Contarelli Chapel within the church of San Luigi dei Francesi He also completed murals in the Cappella Olgiati in Santa Prassede, and the vault of the Sacristy in the Certosa di San Martino

He was a man of touchy and irascible character, and rose from penury to the height of opulence His brother Bernardino Cesari assisted in many of his works Cesari became a member of the Accademia di San Luca in 1585 In 1607, he was briefly jailed by the new papal administration He died in 1640, at the age of seventy-two, or perhaps of eighty, at Rome

Giuseppe Cesari was born in February 1568 in Arpino, in today's province of Frosinone, then in the Kingdom of Naples, by Muzio di Polidoro, "pintore d'Arpino, who in a very big way painted the vows" and by Giovanna van Mander, To a noble Spanish family It was introduced to the work of painting after the transfer in 1582 Rome, where he worked on the decoration of the Vatican Logges under the direction of Circignani; He also intervened in the old room of the Swiss, where he produced a hyperbolic figure of Samson in Monocromo, and in the Sala dei Chiaroscuri

It was in the Vatican artistic field, in any case, that the young Caesar, not yet a knight, made himself known for his creativity

In 1583 Cesari, besides starting to receive a regular commission, was admitted to the Accademia di San Luca. Following this prestigious adherence, he was very active from an artistic point of view, so that at this time he worked in Santori Palace, in Sant Anastasia of the Greeks, in the church of Trinità dei Monti, and in San Lorenzo in Damaso; In the works of these years, a style inspired by water-like transparencies emerges, influenced by Raffaellino's influence from Reggio and Francesco Vanni Frattanto, in 1586, Cesari became a member of the Virtueous Congregation at the Pantheon

In 1589 Cesari moved temporarily to Naples, where he was responsible for decorating Sancta Sanctorum of the Certosa di San Martino; The frescoes, left unfinished at first, were then completed by Brother Bernardino in 1592-93. With the advent to Clement VIII Aldobrandini's pontificate, Cesari finally consecrated his professional statement, becoming one of the best-known painters in Rome, especially for The great decorative companies

Between 1591 and 1593 Cesari was absorbed in the ceiling decoration of the Contarelli Chapel, in the church of St. Louis of the French; Overwhelmed by the most prestigious papal commissions, however, he left office to apprentice Caravaggio, who worked in his shop, now considered one of the most famous in Rome. Among the works of these years are the illusionistic ceilings of the chapel Olgiati in Santa Prassede 1593-95; The ceiling decoration of the Orsini loggia in Pietà Sodalizio dei Piceni (1594-95); The sophisticated Saint Francis comforted by an angel playing the violin (circa 1593)

During the same period there are some interventions in the chapel Aldobrandini in Santa Maria in Via and in the chapel of the Bombardieri of the castle of Maria in Transpontina. Afterwards, he frescoed the sacristy of the San Martino Charterhouse in Naples (1596-1597) and decorated with the Finding of the Hall of the Orazi and Curiazi in the Palazzo dei Conservatori at the Capitol; Followed the canvases depicting San Giovanni drinking poison and Saint John led to the sepulcher, commissioned by Clement VIII for St. John in Fountain, and some of his small paintings made as a tribute to the double Austro-Spanish wedding; We also know that in recent years the Cesari went to Venice

Founded in November 1599 as Prince of the Academy of St. Luke, Cesari frescoed Ascension in the transept of St. John Lateran in 1600, achieving thanks to the pictorial qualities of this work the knight of Christ. If we exclude the frescoes made by Pietro Aldobrandini in His villa in Frascati, and the other decorative companies mentioned above, the Cavalier d'Arpino in the last decade was also involved in the realization of a large number of small paintings, very refined and sought after: in this sense, Perseus and Andromeda (1592 -93), the Resurrection of Lazarus (about 1591-93), the Escape to Egypt (around 1592-93), the San Michele fought the rebellious Angels (about 1593); The Capture of Christ (about 1596-97); The Throwing Out of Paradise (1597); Diana and Atteone and Rest in Egypt

His only direct followers were his sons Muzio (1619–1676) and Bernardino (d 1703) Pier Francesco Mola (1612–66) apprenticed in his studio Other pupils include Francesco Allegrini da Gubbio, Guido Ubaldo Abatini, Vincenzo Manenti, and Bernardino Parasole

His most notable and perhaps surprising pupil was Caravaggio In c 1593-94, Caravaggio held a job at Cesari's studio as a painter of flowers and fruit

The economic and social position of Cesari had become largely consolidated, so he could eventually buy a palace in Via del Corso, as well as to build his own residence in the nativity aristula still partially existing; Among Cesari's clients, in addition to the rich capitol aristocracy, there were also Emperor Rodolfo II and the kings of Spain and France. However, after the death of Clement VIII, Cavalier d'Arpino suffered a momentary eclipsis, ending even in prison for The illicit possession of weapons (in fact, it possessed a fine collection of archibuges)

From the prison, the Cesari oversaw the mosaic decoration of the dome of St. Peter and of the Paolina Chapel in Santa Maria Maggiore, where he performed the Prophets in the dome plumes and the San Luca above the altar. In the late career they multiplied for the painter Official recognition: re-elected Prince of the Academy of St. Luke in 1615 and 1629, on July 13, 1630 he was granted the Cross and the title of St. Michael. Meanwhile, the Cesari invaded a Roman populace named Dorotea so far To make her a bride: the wedding was celebrated in 1618 and was crowned by the birth of two sons, Muzio and Bernardino, both painters

The Cavalier d'Arpino spent the last years of his existence in his residence in Via dei Serpenti, purchased in 1636; Died on July 3, 1640 The death of Cavalier d'Arpino generates a process that starts from a temporary and temporary deposition in the aisle of Santa Maria in Aracoeli, whose position can be derived from the comparison between the sources, until the transfer to San Giovanni In Laterano (perhaps thanks to the help of the Barberini) with the construction of a dignitary monument in polychrome marble, borrominic echoes and a bust by Niccolo Menghini, made post-mortem perhaps based on previous portraits and completed by the heraldic shield The nickname of the artist, and an encomiastic epitaph

Works:
Arpino, Church of San Michele Arcangelo, San Michele Arcangelo fights Lucifer, o / t, ca 1620
Church of San Michele Arcangelo, God blessing Father with Globe, or / t, ca 1620
Church of San Michele Arcangelo, Head of Christ, fresco, 1606-1607
Church of San Michele Arcangelo, Martyrdom of St. Peter Martyr, o / t, 1631
Church of Santa Maria Assunta, God the Father with the right hand raised and the Globe, or / tav, ca 1620
Church of Santa Maria Assunta, San Giovanni ev and San Giuseppe, o / tav, 1625-1627
Church of Sant'Antonio, St. Anthony of Padua with Child Jesus and dress of Saint Anthony of Padua, o / t, ca 1634
Church of Sant'Andrea, Sant'Andrea and San Benedetto under the Holy Spirit and two adorable putts, o / t, 1635
Church of San Vito in Civitavecchia, Santi Vito, Modesto and Crescenzia, or / t, 1625-1627
Atri, Capitular Museum of Atri, Madonna with Child and Saints, or / t, ca 1615
Budapest, Museum of Fine Arts, '' Diana surprise at the bathroom from Atteone
Caen, Musée des Beaux-Arts, Tullo's victory Ostilio sui Veii and Fideni, t / t, 70 x 99 cm, 1596-1597
Calvi of Umbria, Church of Santa Maria Assunta, Chapel Sernicoli, Madonna and Child throne between the Saints Biagio and Berardo, o / t, 1640 ca
Cardiff, National Gallery of Wales: Christ in the Garden and the Angel
Cassino, Abbey of Montecassino, Se'Orazione in the Garden
Ohio, The Dayton Art Institute: Adoration of the Magi
Palermo, Regional Gallery of Palazzo Abatellis, Andromeda Liberated by Perseus
Paris, Louvre, Adam and Eve driven out of Paradise, or / t, 51 x 30 cm, ca 1597; Diana and Atteone, or / t, 47 x 66 cm, ca 1603-1604
Phoenix, USA, Phoenix Art Museum, The Archangel Michael and the Rebellious Angels, or / t
Piano di Sorrento, Basilica of San Michele Arcangelo (Piano di Sorrento), Deposition of Christ
Reggio Emilia, Cathedral, "Visitation of the Virgin", or / t
Rome, Basilica of St. John in Lateran, left side of the transept: Ascension
Basilica of St. Peter in the Vatican, Preparation of the cartons for mosaic decoration of the inner cupola cupola
Basilica of San Crisogono, ceiling of the presbytery: Blessed Virgin
Church of Jesus of Nazareth: St. Catherine of Alexandria
St. Charles Church at Catinari, sacristy: Christ mocked
Church of San Cesareo de Appia: Stories of the saints Cesareo and Ippolito in the squares on the attic and cartoons for the mosaics
Church of San Luigi dei Francesi, Chapel Contarelli, frescoes
Church of St. Silvestro at the Quirinale, turn of the first chapel to the left, frescoes with Stories of Saint Stephen
Church of Sant'Atanasio: Assumption of the Virgin; Crucifixion
Church of Santa Lucia in Selci: Holy Trinity; The saints Augustine and Monica
Church of Santa Maria della Scala: Madonna with Child
Church of Santa Maria di Loreto: Death of the Virgin; Nativity of the Virgin
Church of Santa Maria in Traspontina: Santa Barbara and on cardboard, stories of his life
Church of Santa Maria in Via: Adoration of the Magi; Nativity
Basilica of Santa Maria Maggiore, Chapel of Paolina, frescoes in the lunette above the altar and dome plumes
Church of Santa Maria sopra Minerva: San Domenico
Church of Santa Prassede, Olgiati Chapel, vault decoration
Church of the Trinity of the Mountains, lunette in the cloister: Stories of Saint Francis from Paola
New Church: Coronation of the Virgin; Presentation at the Temple
Convent of Sant'Onofrio al Gianicolo: Stories of St. Onofrio, frescoes in the lunettes of the cloister of the convent
Sorgente Group Foundation: Santa Cecilia with portable organ, another saint and a putto Oil on canvas, 136x98,5 cm
1630 ca

Borghese Gallery, St. John the Baptist, o / t, 33 x 26 cm, ca 1607; Declassification of the Baptist, o / r, 28 x 22 cm, ca 1600-1605; Escape to Egypt, t / t, 45 x 33 cm, 1592-1593; Rat of Europe, or / t, 57 x 45 cm, 1603-1606; Capturing Christ, or / r, 77 x 56 cm, 1596-1597; Battle of Tullo Ostilio against the Venetians, o / t, 67 x 89 cm, 1595-1598
Galleria Corsini: Resurrection of Lazarus
Galleria dell'Accademia di San Luca: Perseus and Andromeda; Capturing Christ
Palazzo dei Conservatori at the Capitol, Conservatory's apartment, Sala degli Orazi and Curiazi, Episodes of Rome's history, frescoes
Sisto V Palace, loggetta, frescoes with Hercules Stories
Palazzo Costaguti, Venue Room and Aeneas, frescoes
Pinacoteca Capitolina, Diana hunter, or / t, 44 x 32.5 cm, 1600-1601
Vatican City, Vatican Pinacoteca, Annunciation, o / t, 290 x 184 cm, 1606
St. Petersburg, Ermitage: Santa Chiara leaves Saracens from Assisi
Veroli, Church of San Michele Arcangelo, Santa Maria Salome with the pisside, o / t, ca 1625
Vienna, Kunsthistorisches Museum: Perseus free Andromeda; San Michele hunts rebel angels
Washington DC, USA, National Gallery of Art, Martyrdom of Saint Margherita, o / t, 85 x 62.6 cm, ca 1608-1611
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